In the novel, Jean Lorrain presents experiences of the darker side of his life in Paris as the adventures of the Duc de Fr�neuse (Phocas) and his relationship with the svengaliesque English painter Claudius Ethal This book ranks with 'A Rebours' as the summation of the French Decadent Movement. Modelled on 'The Portrait of Dorian Gray, ' it drips with evil and certainly would have been unpublishable in fin de siecle England. "The madness of the eyes is the lure of the abyss. Sirens lurk in the dark depths of the pupils as they lurk at the bottom of the sea, that I know for sure - but I have never encountered them, and I am searching still for the profound and plaintive gazes in whose depths I might be able, like Hamlet redeemed, to drown the Ophelia of my desire." ― Jean Lorrain, Monsieur De Phocas

    Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students "learn to look." This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.

    A Writer's Diary began as a column in a literary journal, but by 1876 Dostoevsky was able to bring it out as a complete monthly publication with himself as editor, publisher, and sole contributor, suspending work on The Brothers Karamazov in order to do so.The Diary's radical format was matched by the extreme range of its contents. In a single frame A Writer's Diary was to combine an astonishing variety of material: short stories; humorous sketches; reports on sensational crimes; historical predictions; portraits of famous people; autobiographical pieces; and plans for stories, some of which were never written while others appeared later in the Diary itself. A range of authorial and narrative voices and stances, and an elaborate scheme of allusions and cross-references, preserve and present Dostoevsky's conception of his work as a literary whole.Volume I begins with an extensive study by Gary Saul Morson, which provides a fascinating context for the work's form and content.

    First written over a century ago, the Grammar of Assent speaks as powerfully to us today as it did to its first readers. Because of the informal, non-technical character of Newman's work, it still retains its immediacy as an invaluable guide to the nature of religious belief. An introduction by Nicholas Lash reviews the background of the Grammar, highlights its principal themes, and evaluates its philosophical originality.

    Her stories of fiercely independent women, culminating in her masterpiece "The Awakening" (1899), challenged contemporary mores as much by their sensuousness as their politics, and today seem decades ahead of their time. Now, The Library of America collects all of Chopin's novels and stories as never before in one authoritative volume. The explosive novel "At Fault" (1890) centers on a love triangle between a strong-willed young widow, a stiff St. Louis businessman, and the man's alcoholic wife. In the story collections "Bayou Folk" (1894) and "A Night in Acadie" (1897), Chopin transforms the local color sketch into taut, perfectly calibrated tales of post-Civil War bayou culture. In "The Awakening," the now-classic novel that scandalized many of her contemporaries and effectively ended her writing career, Chopin tells the story of a restless, unsatisfied woman who embarks on a quixotic search for fulfillment. The volume also includes all the stories not collected by Chopin, including those meant for "A Vocation and a Voice," a projected volume that her publisher canceled in 1900, and three stories that were found in 1992 in a long-lost cache of Chopin's papers.

    In June 1816, the flagship of a French expedition to repossess a colony in Senegal from the British set sail. She never arrived at her destination; her incompetent captain Hugo de Chaumareys, ignoring telltale signs of shallow waters, plowed the ship into a famously treacherous sandbar. A privileged few claimed the lifeboats while 146 men and one woman were herded aboard a makeshift raft and set adrift. Without a compass or many provisions, hit by a vicious storm the first night, and exposed to sweltering heat during the following days, the group set upon each other: mayhem, mutiny, and murder ensued. When rescue arrived thirteen days later only fifteen were alive. Meanwhile, those in the boats who made it to shore undertook a dangerous two-hundred-mile slog through the desert. Among the handful of survivors from the raft were two men whose written account of the fiasco became a bestseller that rocked France’s political foundations and provided graphic fodder for Géricault’s world-famous painting.

    Edwards is acknowledged as one of the best Victorian ghost story writers. She was one of the select band of authors invited by Charles Dickens to contribute ghost stories to the Christmas numbers of his magazine All the Year Round, and some of her tales—such as 'The Four-fifteen Express', 'Number Three', 'My Brother's Ghost Story', and the highly influential 'The Phantom Coach'—have become staples of ghost story anthologies.There was much more to Amelia Edwards than ghost stories, however, as Richard Dalby makes clear in his introduction. She was an indefatigable traveller, and she incorporated much of what she observed into her ghost stories, many of which are set in northern and central Europe. She was also an archaeologist of world renown, who was instrumental in ensuring that the treasures and antiquities of ancient Egypt were properly excavated and preserved.The Phantom Coach is the first book to collect together all of Amelia B. Edwards's supernatural fiction. In addition to all her known ghost stories, the volume also contains three additional items, including a delightful piece by Edwards herself about 'My Home Life': a fascinating look at one of the Victorian era's most fascinating women.Contents: Introduction by Richard Dalby; 'My Brother's Ghost Story'; 'The Eleventh of March'; 'Number Three'; 'The Discovery of the Treasure Isles'; 'The Phantom Coach'; 'The Recollections of Professor Henneberg'; 'An Engineer's Story'; 'The Four-fifteen Express'; 'The Story of Salome'; 'A Service of Danger'; 'The New Pass'; 'In the Confessional'; 'Sister Johanna's Story'; 'A Night on the Borders of the Black Forest'; 'Monsieur Maurice'; 'Was it an Illusion?'; Appendixes: 'Four Ghosts'; 'A Legend of Boisguilbert'; 'My Home Life'.

    Nothing like it has been made before and—to its millions of fans—nothing as good will ever be made again. It is a show that prompts endless debate, and the debates continue here. Is Omar Little the coolest criminal since Robin Hood? Which series has the best theme tune? Will Bubbles survive Baltimore? Avon or Stringer? How does McNulty have so much success with women? With the show now over, these and hundreds of other questions are discussed in this brilliant collection of features and comments from the Guardian's Wire Re-up blog. Together with interviews with the show's creators and stars, running totals per episode (murders, Bunk drunk, Herc screw-ups, and much more), and a quiz created by the stars themselves, this book will guarantee fans that one last fix they've been craving.

    George Kubler draws upon new insights in fields such as anthropology and linguistics and replaces the notion of style with the idea of a linked succession of works distributed in time as recognizably early and late versions of the same action. The result is a view of historical sequence aligned on continuous change more than upon the ecstatic concept of style--the usual basis for conventional histories of art.

    No longer relegated to designer's sketchbooks, hand-drawn type has emerged from the underground as a dynamic vehicle for visual communicationfrom magazine, book, and album covers to movie credits and NFL advertisements. As the practice and appreciation of hand-drawn type grows, its time to celebrate the work of those typographers whose every letterform is a work of art.Hand Job collects groundbreaking work from fifty of today's most talented typographers who draw by hand. Graphic designer and hand typographer Michael Perry selects work representing the full spectrum of design methods and styles. Each hand-drawn work is entirely shaped by the artist's unique processevery one a carefully executed composition enhanced by unplanned "accidents" of line, color, and craft. Hand Job also includes photographs of found type,artists studios, and the tools that help make typography come to life. Whether you are looking to invigorate your design work or are just in need of a little offbeat inspiration, Hand Job will have you reaching for your favorite pen.

    If the truth be known, I secretly couldn’t resist the novelty of passing time with a bloke called Serge Bastarde. When ex-blues drummer John Dummer decamps to France to start up as an antiques dealer and live the simple life, he doesn’t count on meeting Serge Bastarde. The lovable (if improbably named) rogue and brocanteur offers to teach John the tricks of the trade in return for his help in a series of breathtakingly unscrupulous schemes. As the pair trawl through antiques markets and old farmhouses looking for hidden treasure, they get into more than their fair share of scrapes: whether they’re conning hearty lunches from unsuspecting old peasants, secretly manufacturing priceless collectibles or losing a Stradivarius to gypsies. Filled with eccentric characters, high jinks and unlikely adventures, this is a hilarious romp through the real rural France.

    However, limited access to the fragile works on paper and dispersion among several collections have made for an unbalanced representation of his work as a draftsman.This book assembles drawings and watercolors from public and private collections and reproduces work from every year of the artist's career, beginning with the juvenilia and early academic studies. The focus means that work that is rarely reproduced is represented extensively, providing a unique opportunity to study the rapid artistic development of Schiele over the course of his brief twelve-year career.The book is organized chronologically and divided into year-by-year sections. Each section includes a text that discusses the major events in Schiele's life and the interrelation between the artist's drawing and developments in his oil painting. Features a previously unpublished Schiele watercolor and several works that have never been reproduced in color.

    Literally meaning "pictures of the floating world", ukiyo-e refers to the famous Japanese woodblock print genre that originated in the 17th century and is practically synonymous with the Western worlds visual characterization of Japan. Though Hiroshige captured a variety of subjects, his greatest talent was in creating landscapes of his native Edo (modern-day Tokyo) and his most famous work was a series known as "100 Famous Views of Edo" (1856-1858). This book provides an introduction to his work and an overview of his career.About the Series: Every book in TASCHEN's Basic Art Series features:a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist approximately 100 color illustrations with explanatory captions a concise biography

    In the service of Mlle de Varandeuil, Germinie realizes that if she wishes to remain employed, she faces an unmarried life. Such a frustration of her maternal instincts engenders a deep devotion to her niece; Germinie is crushed when the girl is removed by her parents. Many relationships of the same mold ensue, the heroine each time forging loving bonds that are broken. In the face of such drudgery, the Goncourt brothers reveal the value of such simple pleasures as a walk in the countryside; and through the story of Germinie Lacerteux’s life, they examine questions of the individual’s power—or powerlessness—to control his or her own fate.

    In this new book he is concerned with such a mutation: the process by which the arduous enterprise of sincerity, of being true to one's self, came to occupy a place of supreme importance in the moral life--and the further shift which finds that place now usurped by the darker and still more strenuous modern ideal of authenticity. Instances range over the whole of Western literature and thought, from Shakespeare to Hegel to Sartre, from Robespierre to R.D. Laing, suggesting the contradictions and ironies to which the ideals of sincerity and authenticity give rise, most especially in contemporary life. Lucid, and brilliantly framed, its view of cultural history will give Sincerity and Authenticity an important place among the works of this distinguished critic.