Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Spy
Smart. Funny. Fearless."It's pretty safe to say that Spy was the most influential magazine of the 1980s. It might have remade New York's cultural landscape; it definitely changed the whole tone of magazine journalism. It was cruel, brilliant, beautifully written and perfectly designed, and feared by all. There's no magazine I know of that's so continually referenced, held up as a benchmark, and whose demise is so lamented" --Dave Eggers. "It's a piece of garbage" --Donald Trump.
Tuscan Spaces
In Tuscan Spaces, Silvia Ross focuses on constructions of Tuscany in twentieth-century Italian literature and juxtaposes them with English prose works by such authors as E.M. Forster and Frances Mayes to expose the complexity of literary representation centred on a single milieu.
Speaking of Stendhal
Storm Jameson writes of Stendhal "as one speaks in suitable company of a friend". She knew him very well. Over the years she read everything available by him and she immersed herself in his life and his writings - and the two cannot be separated. As a biographical subject, Stendhal is vastly more rewarding than many literary figures. Something was forever happening to him; usually another passionate love affair. Life at home, in his youth, was a smouldering battle-ground: he hated his father, and when he rejoiced at the execution of Louis XVI, "be sure", Storm Jameson adds, "that another head glimmered in his mind." There was his naively close relationship with his sister Pauline, whom howev...
Pictures and Tears
Art Does art leave you cold? And is that what it's supposed to do? Or is a painting meant to move you to tears? Hemingway was reduced to tears in the midst of a drinking bout when a painting by James Thurber caught his eye. And what's bad about that? In Pictures and Tears, art historian James Elkins tells the story of paintings that have made people cry. Drawing upon anecdotes related to individual works of art, he provides a chronicle of how people have shown emotion before works of art in the past, and a meditation on the curious tearlessness with which most people approach art in the present. Deeply personal, Pictures and Tears is a history of emotion and vulnerability, and an inquiry into the nature of art. This book is a rare and invaluable treasure for people who love art. Also includes an 8-page color insert.
Towards a New Anthropology of the Embodied Mind: Maine de Biran’s Physio-Spiritualism from 1800 to the 21st Century
This exploration in the history of ideas examines the groundbreaking notion of the embodied mind in its analysis by the French philosopher and politician Maine de Biran (1766–1824) and in its afterlife: consciousness is generated through frequent interaction between the voluntary and the spiritual. The conscious, active self is constituted in its sovereign autonomy, as free and undivided, by an inner act of willful resistance, a physical effort towards its own body and the world. For the first time, a multidisciplinary group of senior and junior researchers from Japan, USA and Europe investigate origins and discursive cross-fertilization of this concept around 1800, an intermediary stage between 1870 and 1945, and its influence upon existentialism, phenomenology, and deconstructivism during the postwar-period and beyond, from 1943 to 2010.
Stendhal
None
A Lion for Love
Traces the life of the nineteenth century French novelist, attempts to portray his complex personality, and analyzes his major works.
Critical Cinema
Critical Cinema: Beyond the Theory of Practice purges the obstructive line between the making of and the theorising on film, uniting theory and practice in order to move beyond the commercial confines of Hollywood. Opening with an introduction by Bill Nichols, one of the world's leading writers on nonfiction film, this volume features contributions by such prominent authors as Noel Burch, Laura Mulvey, Peter Wollen, Brian Winston and Patrick Fuery. Seminal filmmakers such as Peter Greenaway and Mike Figgis also contribute to the debate, making this book a critical text for students, academics, and independent filmmakers as well as for any reader interested in new perspectives on culture and film.
