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    This book traces their development from earliest times through their period of glory and ultimate decline to their rediscovery and study in modern times. All of Egypt's surviving temples--from the gargantuan temple of Amun at Karnak to minuscule shrines such as the oasis Oracle of Siwa, where Alexander went to hear himself proclaimed god--are discussed and illustrated with factfiles, photographs, plans, and specially commissioned perspective views. * "Houses of Eternity" considers the historical origin and development of Egyptian temples, describing their role in ancient Egyptian society, their later Christian and Muslim use, and their modern rediscovery. * "Buildings Fit for Gods" looks at how the temples were built, decorated, expanded--and sometimes destroyed. * "Worlds Within Worlds" examines each part of the sacred structures in detail--from the massive pylon towers, colossal statues, and obelisks that fronted many temples to the darkened sanctuaries and mysterious crypts of their inner depths. * "Between Heaven and Earth" discusses the temple's relationship to the pantheon of Egypt's gods, along with the roles and rituals of pharaohs and priests, and the sacred rites and festivals enacted there. * "Temples of Gods and Kings" is the most extensive catalogue of Egyptian temples yet published in one volume and serves as a guide to the ancient sites. The book's format follows the highly successful, visual style of the other volumes in Thames Hudson's best-selling "Complete" series, creating both an authoritative reference book and an entertaining guide for everyone fascinated by the eternal mysteries of ancient Egypt.

    With its copious illustrations, it forms an indispensable and unrivaled reference work for everybody interested in art, drama, poetry, anthropology or religion.There is no surviving account in ancient Greek literature of of stories as important as the fall of Troy or Theseus and the Minotaur. It is to visual sources that we have to turn for much of our knowledge of the myths. Vase paintings, engraved gems and sculpture in bronze and and stone often pre-date reference to the myths in literature or offer alternative versions to the familiar accounts; always they throw light on the way the Greeks understood the stories of gods and heroes.

    This has led to widespread interest in using natural materials—straw, cob, and earth—for building homes and other buildings that are inexpensive, and that rely largely on labor rather than expensive and often environmentally-damaging outsourced materials.Earthbag Building is the first comprehensive guide to all the tools, tricks, and techniques for building with bags filled with earth—or earthbags. Having been introduced to sandbag construction by the renowned Nader Khalili in 1993, the authors developed this "Flexible Form Rammed Earth Technique" over the last decade. A reliable method for constructing homes, outbuildings, garden walls and much more, this enduring, tree-free architecture can also be used to create arched and domed structures of great beauty—in any region, and at home, in developing countries, or in emergency relief work.This profusely illustrated guide first discusses the many merits of earthbag construction, and then leads the reader through the key elements of an earthbag building: Special design considerations Foundations, walls and floors Electrical, plumbing and shelving Lintels, windows and door installations Roofs, arches and domes Exterior and interior plasters.With dedicated sections on costs, making your own specialized tools, and building code considerations, as well as a complete resources guide, Earthbag Building is the long-awaited, definitive guide to this uniquely pleasing construction style.Kaki Hunter and Donald Kiffmeyer have been involved in the construction industry for the last 20 years, specializing in affordable, low-tech, low-impact building methods that are as natural as possible. They developed the "Flexible Form Rammed Earth Technique" of building affordably with earthbags and have taught the subject and contributed their expertise to several books and journals on natural building.

    Illuminations includes Benjamin's views on Kafka, with whom he felt the closest personal affinity, his studies on Baudelaire and Proust (both of whom he translated), his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study on "The Work of Art in the Age of Mechanical Reproduction," an illuminating discussion of translation as a literary mode, and his thesis on the philosophy of history. Hannah Arendt selected the essays for this volume and prefaces them with a substantial, admirably informed introduction that presents Benjamin's personality and intellectual development, as well as his work and his life in dark times. Reflections the companion volume to this book, is also available as a Schocken paperback.Unpacking My Library, 1931The Task of the Translator, 1913The Storyteller, 1936Franz Kafka, 1934Some Reflections on Kafka, 1938What Is Epic Theater?, 1939On Some Motifs in Baudelaire, 1939The Image of Proust, 1929The Work of Art in the Age of Mechanical Reproduction, 1936Theses on the Philosophy of History, written 1940, pub. 1950

    Each clique of scientists has a part of the story correct, but new evidence shows they are all fundamentally wrong.On the one side, we have academics highlighting the astonishing fossil record of China with multiple sites now producing modern human fossils aged between 80 - 120 thousand years, or older. Several extremely ancient fossil finds in China, including Dali, Maba and Jinniushan, place archaic Homo sapiens in this region up to 260,000 years ago.On the other side, we have scientists pointing to Africa's impressive fossil record with its evidence of potential ancestors going back around 6 million years. The evidence of extreme genetic diversity among Africans and the discovery of 300,000-year-old archaic Homo sapiens fossils in Morocco tends to further support the idea that humans came out from Africa. We can understand why both sides are so sure of their positions, and why the debate continues. While leading academics focussed on their own agendas, they overlooked significant evidence. Between the two poles of Out of Africa and Out of Asia Theory, exists a 'Middle Way'. The Forgotten Exodus: The Into Africa Theory of Human Evolution, reveals that within the known fossil record, the current genetic studies and recent paleoclimate models there is compelling evidence for a superior theory of human origins, representing a paradigm displacement.The Into Africa Theory does not dispute the evidence placing the earliest hominins in Africa.However, it does not agree with the consensus view that Homo sapiens emerged there first and later migrated to Eurasia.The Into Africa Theory recognises the extraordinary evidence for critical stages in our development occurring in East and Southeast Asia. It is abundantly clear that as a new concerted effort to gather and evaluate fossil evidence begins in earnest we see astonishing new discoveries. The Into Africa Theorydisputes the claims of Out of Africa and Out of Asia(or Europe) adherents over the starting point for the migration which populated Eurasia approximately 60,000 years ago and identifies the actual location.Amazing facts that you will encounter:-Homo heidelbergensis was not ancestral to modern humans -Denisovan fossils in Siberia carried DNAfrom Australian Aboriginals-An Indonesian supervolcano brought about the end for multiple hominin species-Climate catastrophe locked humans in Africa from 73,000 to 59,000 years ago-There is no African fossil DNA over 10,000 years in age-While supposedly isolated, Aboriginal Australians interbred with Denisovans 44,000 years agoYou will gain access to a long-forgotten conversation involving the famous evolutionary scientists Allan Wilson and Rebecca Cann, in which they admitted that their data suggested Aboriginal Australians were ancestral to all modern humans.Learn why the appearance of the haplogroups foundational to Eurasians, L3 and CT, had to come from a population incursion rather than an in-situ mutation.Explore the cutting-edge scientific findings of 2016 and 2017 alongside a broad range of anomalies long suppressed or ignored in academic circles.The Forgotten Exodus' author Bruce R. Fenton began his journey towards a new understanding of human origins after an expedition to a mysterious megalithic complex in the Ecuadorian Amazon. The Information Systems professional and lifelong scholar of ancient cultures, found himself tracing the threads of the human story across six continents and through 6,000,000 years of history. You will come away with a unique view of humanity and a sense of excitement for revelations still set to arrive. This book reminds all of us that we have a collective ability to overcome enormous obstacles.

    Four see-through vellum sections, of four layers each, begin with a "naked" geisha; they show, stage by stage, how her distinctive costume and make-up are assembled. You'll view the subtle changes of appearance through the round of seasonal events, and the elaborate array of equipment in the geisha's wardrobe, as well as everything she needs to do her demanding jobs. Equally revealing is the incredibly detailed information about the women's training, lives, and history.

    We form Art. Art forms us. The title of this book has a dual meaning. Besides the expected discussion of the various forms of art, the title also reflects the fact that art does indeed help to form us as people. As we create forms, we are in turn formed by what we have created. Several years ago, the title was changed to "Preblesa Artforms," acknowledging the pioneering contribution of the original authors, Duane and Sarah Preble, to the study of art. Their vision and spirit have touched hundreds of thousands of students who have studied this book. "Artforms "grew out of a desire to introduce art through an engaging visual experience, and to expose students to a culturally diverse canon of work. It is written and designed to help readers build an informed foundation for individual understanding and enjoyment of art.By introducing art theory, practice, and history in a single volume, this book aims to draw students into a new or expanded awareness of the visual arts. Beyond fostering appreciation of major works of art, this booka s primary concern is to open studentsa eyes and minds to the richness of the visual arts as unique forms of human communication and to convey the idea that the arts enrich life best when we experience, understand, and enjoy them as integral parts of the process of living.

    The widely respected psychology and education author reveals his most important self-help theory since his bestselling "Reality Therapy." "I can imagine no more useful advice."--Norman Cousins

    It was a story that generations of Americans have also come to know through Dorothea Lange'sunforgettable photos of migrant families struggling to make a living in Depression-torn California. Now in James N. Gregory's pathbreaking American Exodus, there is at last an historical study that moves beyond the fiction of the 1930s to uncover the full meaning of these events. American Exodus takes us back to the Dust Bowl migration of the 1930s and the war boom influx of the 1940s to explore the experiences of the more than one million Oklahomans, Arkansans, Texans, and Missourians who sought opportunities in California. Gregory reaches into the migrants' livesto reveal not only their economic trials but also their impact on California's culture and society. He traces the development of an Okie subculture that over the years has grown into an essential element in California's cultural landscape. Gregory vividly depicts how Southwesterners brought with them on their journey west an allegiance to evangelical Protestantism, plain-folk American values, and a love of country music. These values gave Okies an expanding cultural presence their new home. In their neighborhoods, oftencalled Little Oklahomas, they created a community of churches and saloons, of church-goers and good-old-boys, mixing stern-minded religious thinking with hard-drinking irreverence. Today, Baptist and Pentecostal churches abound in this region, and from Gene Autry, Oklahoma's singing cowboy, toWoody Guthrie, Bob Wills, and Merle Haggard, the special concerns of Southwesterners have long dominated the country music industry in California. The legacy of the Dust Bowl migration can also be measured in political terms. Throughout California and especially in the San Joaquin Valley Okies haveimplanted their own brand of populist conservatism. The consequences reach far beyond California. The Dust Bowl migration was part of a larger heartland diaspora that has sent millions of Southerners and rural Midwesterners to the nation's northern and western industrial perimeter. American Exodus is the first book to examine the culturalimplications of that massive 20th-century population shift. In this rich account of the experiences and impact of these migrant heartlanders, Gregory fills an important gap in recent American social history.

    A century later, Jarry is firmly established as one of the leading figures of the artistic avant-garde. Italo Calvino, Umberto Eco, Gilles Deleuze, Jean Baudrillard, Philip K. Dick, Paul McCartney, DJ Spooky, Peter Greenaway, and J. G. Ballard are among his many admirers. A community of scholars and artists maintain a posthumous dialogue with Jarry's ideas through the Collège de 'Pataphysique in Paris (named after the "science of imaginary solutions" he conceived), while a steady stream of books on twentieth-century drama pay tribute to his absurd and grotesque play, Ubu Roi. Even so, most people today tend to think of Jarry only as the author of that play, and of his life as a string of outlandish "ubuesque" anecdotes, often recounted with wild inaccuracy. In this first full-length critical biography of Jarry in English, Alastair Brotchie reconstructs the life of a man intent on inventing (and destroying) himself, not to mention his world, and the "philosophy" that defined their relation. In short, Brotchie gives us the narrative version of what Jarry himself produced: a pataphysical life. Drawing on a wealth of new material, Brotchie alternates chapters of biographical narrative with chapters that connect themes, obsessions, and undercurrents that relate to the life.The anecdotes remain, and are even augmented: Jarry's assumption of the "ubuesque," his inversions of everyday behavior (such as eating backwards, from cheese to soup), his exploits with gun and bicycle, and his herculean feats of drinking. But Brotchie distinguishes between Jarry's purposely playing the fool and deeper nonconformities that appear essential to his writing and his thought, both of which remain a vital subterranean influence to this day.

    This excursion into the history of bizarre entertainments includes armless calligraphers, mathematical dogs, tightrope-walking fleas and assorted quacks, flimflammers and charlatans of spectacle.

    Each chapter addresses de-facto standards, popular technologies, and design principles applicable to a wide variety of systems. Complete with chapter summaries, end-of-chapter exercises and bibliographies, Distributed Operating Systems concludes with a set of case studies that provide real-world insights into four distributed operating systems.

    Includes interviews with fifty-nine waitresses in forty-three towns and cities.

    Games are part art and part appliance, part tableau and part toaster. In How to Talk about Videogames, leading critic Ian Bogost explores this paradox more thoroughly than any other author to date.Delving into popular, familiar games like Flappy Bird, Mirror’s Edge, Mario Kart, Scribblenauts, Ms. Pac-Man, FarmVille, Candy Crush Saga, Bully, Medal of Honor, Madden NFL, and more, Bogost posits that videogames are as much like appliances as they are like art and media. We don’t watch or read games like we do films and novels and paintings, nor do we perform them like we might dance or play football or Frisbee. Rather, we do something in-between with games. Games are devices we operate, so game critique is both serious cultural currency and self-parody. It is about figuring out what it means that a game works the way it does and then treating the way it works as if it were reasonable, when we know it isn’t.Noting that the term games criticism once struck him as preposterous, Bogost observes that the idea, taken too seriously, risks balkanizing games writing from the rest of culture, severing it from the “rivers and fields” that sustain it. As essential as it is, he calls for its pursuit to unfold in this spirit: “God save us from a future of games critics, gnawing on scraps like the zombies that fester in our objects of study.”