In Daido Moriyama: How I Take Photographs , he offers a unique opportunity for fans to learn about his methods, the cameras he uses, and the journeys he takes with a camera.

    Perfect for fans of Dilly Court, Maggie Hope and Nadine Dorries. 1903. As Rob Berkeley comes home to Berry Edge, ten years after his brother's terrible death, he brings with him memories that Faith Norman, his dead brother's fiancée, would rather forget. Rob, driven by guilt, is determined to bring the family business, the foundering steelworks, back to full strength. But every time he sees Faith, he is remained of the part he played in her bereavement and the debt he owes her and Berry Edge. The secrets he hides from the community around him could threaten his very future, and jeopardise his growing feelings for Faith . . .

    This is a new and major biography of the first-ever all-electronic pop group and one of the most influential bands in popular music history, Kraftwerk.

    Gothic monuments bear witness to a dynamic age, when old values were being redefined, often with great drama and debate. Here is a richly-illustrated overview of the period's architecture, sculpture, painting, stained glass, and jewelry, from its 12th-century French origins to its early 16th-century conclusion.

    Donald Richie looks at how perceptual values in Japan were drawn from raw nature and then modified by elegant expressions of class and taste. He explains aesthetic concepts like wabi, sabi, aware, and yugen, and ponders their relevance in art and cinema today.Donald Richie is the foremost explorer of Japanese culture in English, and this work is the culmination of sixty years of observing and writing from his home in Tokyo.

    It contains some of his most influential early essays and reviews, among them 'Tradition and the Individual Talent', 'Hamlet and his Problems', and Eliot's thoughts on Marlowe, Jonson and Massinger, as well as his first tribute to Dante. Many of his most famous critical pronouncements come from the pages of The Sacred Wood.Reviewing his career as a critic in 1961 Eliot wrote that 'in my earlier criticism, both in my general affirmations about poetry and in writing about authors who influenced me, I was implicitly defending the sort of poetry that I and my friends wrote. This gave my essays a kind of urgency, the warmth of appeal of the advocate, which my later, more detached and I hope more judicial essays cannot claim.' This urgency is still apparent more than eighty years after the essays first appeared.

    Originally published in Munich in 1912 and edited by Kandinsky and Marc-- the movements's almanac presented their synthesis of international culture to the European avant garde at large. In both the selection of essays and its innovative interplay of word and image, The Blaue Reiter Almanac remains one of our most critically important works of literature on the art theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of Modernism, simulates the original German format, and includes documents, and musical notations, as well as seminal essays by Kandinsky, Schoenberg, Marc and others. Nearly 150 illustrations, from ancient and contemporary sources, capture the wide-ranging interests and passions that inspired Kandinsky's and Marc's programmatic attempt to make Modernism accessible across national and chronological boundaries. Also included is Klaus Lankheit's extensive critical introduction, which places the Blaue Reiter in context for contemporary readers."The almanac remains unique among European writings on art; no other country produced a comparable work capturing the excitement and tension of the years before World War I." (Will Grohmann)

     Lily receives a most unexpected visitor: an “heir finder” who informs her she is the sole beneficiary to an unclaimed fortune—$16 million left behind by a grandfather she never met. The boon comes with a caveat: the money can only be claimed if the remains of her grandfather—a man who went missing in action in World War Two—are located and he’s proven legally dead. The Far Shore follows Lily as she embarks on a global odyssey—from the shores of South Carolina to the deepest jungles of Myanmar—in a quest for answers. In the process, she uncovers an incredible story—that of a stricken, shell-shocked soldier who left the battlefield and went to the ends of the earth in an attempt to answer the age-old questions of mankind: Why do we suffer? Is there a God? Is there a way out? It is a journey that will change Lily forever; for, like her grandfather, she finds herself going further afield in search of answers, deeper into harm’s way, into both the unmapped places of the world and of the heart, where she will find either unimaginable wisdom and wealth . . . or madness and death.

    These are not inventions of fantasy or science fiction, but are places that really exist-in our own solar system.Now with 190,000 copies in print, here is a spectacular Grand Tour of the solar system featuring a unique blend of science and art-photographs along with dazzling full-color paintings, drawings, and maps based on years of astronomer William Hartmann's research, personal observation, and interviews with colleagues. In text and diagrams, too, The Grand Tour explains how the strange and uncanny worlds on the journeys came to be, and what it would be like to actually set foot upon them today. The book includes an atlas of the planets and their satellites, and of the Earth's moon. Complete with a selection of previously unpublished photographs taken by the Apollo astronauts, and by the Mariner, Viking, and Pioneer planetary probes, The Grand Tour is unique and breathtaking, majestic and eerie, and wonderful, taking the reader to more, and to the beyond. Selection of the Book-of-the-Month Club, Quality Paperback Book Club, and Newbridge Book Club.

    In a remarkable instance of literary and philosophical interpretation, the incomparable Gilles Deleuze reads Proust's work as a narrative of an apprenticeship-more precisely, the apprenticeship of a man of letters. Considering the search as one directed by an experience of signs, in which the protagonist learns to interpret and decode the kinds and types of symbols that surround him, Deleuze conducts us on a corollary search-one that leads to a new and deeper understanding of the signs that constitute A la recherche du temps perdu..Deleuze traces the network of signs laid by Proust (those of love, art, or worldliness) and moves toward an aesthetics that culminates in a meditation on the literary work as a sign-producing "machine"-an operation that reveals the superiority of "signs of art" in a world of signs.In Richard Howard's graceful translation, augmented with an essay that Deleuze added to a later French edition, Proust and Signs appears here for the first time in its entirety in English. Admired in its original appearance as an imaginative and innovative study of Proust and as one of Deleuze's more accessible works, Proust and Signs stands as the writer's most sustained attempt to understand and explain the work of art. For what it reveals about both Deleuze and his subject, it remains a source of literary and philosophical insight, inspiration, and surpassing interest.Gilles Deleuze (1925-1995) was professor of philosophy at the University of Paris, Vincennes-St. Denis. With Félix Guattari, he coauthored Anti-Oedipus (1983) and A Thousand Plateaus (1987). Among his other works are Cinema 1 (1986), Cinema 2 (1989), Foucault (1988), The Fold (1992), and Essays Critical and Clinical (1997), all published by the University of Minnesota Press. Richard Howard recently translated The Charterhouse of Parma by Stendhal for the Modern Library and has also translated works by Barthes, Foucault, and Todorov. He teaches in the School of the Arts at Columbia University.

    It is at this time that he began his engagement with the work of Dostoevsky. Problems of Dostoyevsky’s Art is considered to be Bakhtin’s seminal work, and it is here that Bakhtin introduces three important concepts.First, is the concept of the unfinalizable self: individual people cannot be finalized, completely understood, known, or labeled. Though it is possible to understand people and to treat them as if they are completely known, Bakhtin’s conception of unfinalizability respects the possibility that a person can change, and that a person is never fully revealed or fully known in the world. Readers may find that this conception reflects the idea of the soul; Bakhtin had strong roots in Christianity and in the Neo-Kantian school led by Hermann Cohen, both of which emphasized the importance of an individual's potentially infinite capability, worth, and the hidden soul.Second, is the idea of the relationship between the self and others, or other groups. According to Bakhtin, every person is influenced by others in an inescapably intertwined way, and consequently no voice can be said to be isolated. In an interview, Bakhtin once explained that, In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding—in time, in space, in culture. For one cannot even really see one's own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space, and because they are others. ~New York Review of Books, June 10, 1993.As such, Bakhtin's philosophy greatly respected the influences of others on the self, not merely in terms of how a person comes to be, but also in how a person thinks and how a person sees him- or herself truthfully.Third, Bakhtin found in Dostoevsky's work a true representation of polyphony, that is, many voices. Each character in Dostoevsky's work represents a voice that speaks for an individual self, distinct from others. This idea of polyphony is related to the concepts of unfinalizability and self-and-others, since it is the unfinalizability of individuals that creates true polyphony.Bakhtin briefly outlined the polyphonic concept of truth. He criticized the assumption that, if two people disagree, at least one of them must be in error. He challenged philosophers for whom plurality of minds is accidental and superfluous. For Bakhtin, truth is not a statement, a sentence or a phrase. Instead, truth is a number of mutually addressed, albeit contradictory and logically inconsistent, statements. Truth needs a multitude of carrying voices. It cannot be held within a single mind, it also cannot be expressed by "a single mouth." The polyphonic truth requires many simultaneous voices. Bakhtin does not mean to say that many voices carry partial truths that complement each other. A number of different voices do not make the truth if simply "averaged" or "synthesized." It is the fact of mutual addressivity, of engagement, and of commitment to the context of a real-life event, that distinguishes truth from untruth.When, in subsequent years, Problems of Dostoyevsky’s Art was translated into English and published in the West, Bakhtin added a chapter on the concept of carnival and the book was published with the slightly different title, Problems of Dostoyevsky’s Poetics. According to Bakhtin, carnival is the context in which distinct individual voices are heard, flourish and interact together. The carnival creates the "threshold" situations where regular conventions are broken or reversed and genuine dialogue becomes possible. The notion of a carnival was Bakhtin's way of describing Dostoevsky's polyphonic style: each individual character is strongly defined, and at the same time the reader witnesses the critical influence of each character upon the other. That is to say, the voices of others are heard by each individual, and each inescapably shapes the character of the other.http://en.wikipedia.org/wiki/Mikhail_...

    His sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings. A new preface and two new additional essays published in the 1990s bring this valuable collection up to date.

    New Large Hardcover with dust jacket

    200 b/w illustrations. Two 16-page 4-color inserts.

    Said’s main thesis was that the Western image of the East was heavily biased by colonialist attitudes, racism, and more than two centuries of political exploitation. Although Said’s critique was controversial, the impact of his ideas has been a pervasive rethinking of Western perceptions of Eastern cultures, plus a tendency to view all scholarship in Oriental Studies as tainted by considerations of power and prejudice. In this thorough reconsideration of Said’s famous work, Ibn Warraq argues that Said’s case against the West is seriously flawed. Warraq accuses Said of not only willfully misinterpreting the work of many scholars, but also of systematically misrepresenting Western civilization as a whole. With example after example, he shows that ever since the Greeks Western civilization has always had a strand in its very makeup that has accepted non-Westerners with open arms and has ever been open to foreign ideas. The author also criticizes Said for inadequate methodology, incoherent arguments, and a faulty historical understanding. He points out, not only Said’s tendentious interpretations, but historical howlers that would make a sophomore blush. Warraq further looks at the destructive influence of Said's study on the history of Western painting, especially of the 19th century, and shows how, once again, the epigones of Said have succeeded in relegating thousands of first-class paintings to the lofts and storage rooms of major museums. An extended appendix reconsiders the value of 18th- and 19th-century Orientalist scholars and artists, whose work fell into disrepute as a result of Said’s work.