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The world s best, wittiest lowbrow designers reimagine movie posters for 150 cult films that are built into the DNA of any movie buff "Nightmare on Elm Street," "Psycho," "Vertigo," "Poltergeist," "Metropolis," "Ghostbusters," "Blue Velvet," "Blade Runner," "Star Wars," "Alien," "Mad Max," "Robocop," "Reservoir Dogs," "Jaws," " The Big Lebowski," "Rosemary's Baby," " Taxi Driver," "The Postman Always Rings Twice," and many more films are given new art by the likes of Grimb, Coop, O'Connell, Alderete, Hertz, Pullin, and more. Almost always better than the originals, these new visual takes on iconic movies will delight anyone with an interest in film. For the Hollywood aficionado this visual feast makes a perfect gift; while for graphic designers, both professional and students, this makes for a great source of ideas and inspiration."
First Published in 1930, History of Japanese Religion shows the interaction of various forces which manifested their vitality more in combination than in opposition. A saying ascribed to Prince Shotoku, the founder of Japanese civilization, compares the three religious and moral systems found in Japan to the root, the stem and branches, and the flowers and fruits of a tree. Shinto is the root embedded in the soil of the people's character and national traditions; Confucianism is seen in the stem and branches of legal institutions, ethical codes, and educational systems; Buddhism made the flowers of religious sentiment bloom and gave the fruits of spiritual life. These sentences outlines the scheme of the work and achievement that has long maintained a high reputation among students and scholars. This important and frequently cited book has been out of print for many decades and thus increasingly difficult to access. It is therefore a privilege as well as a pleasure to make it available once again in a complete and unabridged reprint of the original. This is a must read for students of religion, Japanese culture and Japanese history.
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Architecture of Brazil: 1900-1990 examines the processes that underpin modern Brazilian architecture under various influences and characterizes different understandings of modernity, evident in the chapter topics of this book. Accordingly, the author does not give overall preference to particular architects nor works, with the exception of a few specific works and architects, including Warchavchik, Niemeyer, Lucio Costa, and Vilanova Artigas.
The Odyssey's larger plot is composed of a number of distinct genres of myth, all of which are extant in various Near Eastern cultures (Mesopotamian, West Semitic, and Egyptian). Unexpectedly, the Near Eastern culture with which the Odyssey has the most parallels is the Old Testament. Consideration of how much of the Odyssey focuses on non-heroic episodes - hosts receiving guests, a king disguised as a beggar, recognition scenes between long-separated family members - reaffirms the Odyssey's parallels with the Bible. In particular the book argues that the Odyssey is in a dialogic relationship with Genesis, which features the same three types of myth that comprise the majority of the Odyssey: theoxeny, romance (Joseph in Egypt), and Argonautic myth (Jacob winning Rachel from Laban). The Odyssey also offers intriguing parallels to the Book of Jonah, and Odysseus' treatment by the suitors offers close parallels to the Gospels' depiction of Christ in Jerusalem.
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