This book provides the art history student with an introduction to the range of theoretical perspectives used in looking at and analyzing art. It covers a broad range of approaches, presenting individual arguments, controversies, and divergent perspectives.The book begins by introducing the concept of theory and explains why it is important to the practice of art history. Each of the six chapters that form the core of the book presents a group of related approaches that are then discussed in turn and applied to one or more works of art. The book ends with some practical ideas about writing theory-based art history essays.

    Through its ability to nurture trees, matsutake helps forests to grow in daunting places. It is also an edible delicacy in Japan, where it sometimes commands astronomical prices. In all its contradictions, matsutake offers insights into areas far beyond just mushrooms and addresses a crucial question: what manages to live in the ruins we have made? A tale of diversity within our damaged landscapes, The Mushroom at the End of the World follows one of the strangest commodity chains of our times to explore the unexpected corners of capitalism. Here, we witness the varied and peculiar worlds of matsutake commerce: the worlds of Japanese gourmets, capitalist traders, Hmong jungle fighters, industrial forests, Yi Chinese goat herders, Finnish nature guides, and more. These companions also lead us into fungal ecologies and forest histories to better understand the promise of cohabitation in a time of massive human destruction.By investigating one of the world's most sought-after fungi, The Mushroom at the End of the World presents an original examination into the relation between capitalist destruction and collaborative survival within multispecies landscapes, the prerequisite for continuing life on earth.

    Madjid is growing up caught between two cultures. At home, he listens to his mother's constant invective in Arabic as she attempts to make sense of her unfamiliar surroundings; at school, he tries to be part of French culture, a culture that rejects and insults Arabs. In a direct language, punctuated by moments of poetic beauty, Mehdi Charef portrays a reality only too rarely the subject of fiction. An immediate success upon publication in France in 1983, Tea in the Harem became the rallying-point for second-generation Algerians and Moroccans, who gave themselves the name 'beur': slang for 'Arab'.

    Harrowing and heroic, the events of D-Day were recorded in the personal writings of those who were there. Here, Francis Crosby has compiled a comprehensive collection of previously unpublished letters, diaries, photographs, and reminiscences that tell the story of D-Day as it has never been told before.With the use of new international archives, Crosby has culled vivid and detailed eye-witness accounts from each beach, as well as perspectives from land, sea, and air. This fascinating collection includes entries from American, British, and Canadian troops, the Merchant Navy and the Royal Air Force, and newly available German materials. Also included are contemporary and retrospective reactions of women "in the know" and those whom knew from "unofficial sources" of the immediate imminence of the assault.

    The experienced author team have reviewed the core text, expanded the Applications of Biology chapters, and added two new chapters on practical skills. Each chapter now has a set of exam-style practice questions, as well as questions to help review the material. Also included are advice on how to revise and prepare for the examinations, multiple choice questions, revision summaries and answers to all book questions.

    Born in Los Angeles, she is taken to Mexico to live with her extended family until the age of three. Olivia then returns to L.A. to live with her mother, Carmen, the live-in maid to a wealthy family. Mother and daughter sleep in the maid’s room, just off the kitchen. Olivia is raised alongside the other children of the family. She goes to school with them, eats meals with them, and is taken shopping for clothes with them. She is like a member of the family. Except she is not. Based on over twenty years of research, Mary Romero brings Olivia’s remarkable story to life. We watch as she grows up among the children of privilege, struggles through adolescence, declares her independence and eventually goes off to college and becomes a successful professional. Much of this extraordinary story is told in Olivia’s voice and we hear of both her triumphs and setbacks. We come to understand the painful realization of wanting to claim a Mexican heritage that is in many ways not her own and of her constant struggle to come to terms with the great contradictions in her life.

    Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, Ambient music, HipHop, and Techno. Instead of focusing on the putative "crossover" between "high art" and "popular culture," Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical. Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture." In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. The book concludes with a glossary, a timeline, and an extensive discography.

    Koch and Farrell, experienced teachers as well as poets, write about poetry in such a way that students will find it accessible and interesting. The book includes selections of poetry by twenty-three poets, among them Dickinson, Hopkins, Pound, Williams and Eliot, as well as Ginsberg, O'Hara, Baraka and Ashbery. There is also the translated work of such modern European poets such as Lorca, Rilke, Rimbaud, Apollinaire and Mayakowsky.

    The “time after” is not the uniform and morose time of those who no longer believe in anything. It is the time when we are less interested in histories and their successes or failures than we are in the delicate fabric of time from which they are carved. It is the time of pure material events against which belief will be measured for as long as life will sustain it.

    In a plain meetinghouse a woman stands before her judges. The accusers, girls and young women, are fervent and overexcited. The accused is a poor, unpopular woman who had her first child before she was married. As the trial proceeds the girls begin to wail, tear their clothing, and scream that the woman is hurting them. Some of them expose wounds to the horrified onlookers, holding out the pins that have stabbed them -- pins that appeared as if by magic. Are they acting or are they really tormented by an unseen evil? Whatever the cause, the nightmare has begun: The witch trials will eventually claim twenty-five lives, shatter the community, and forever shape the American social conscience.