Conjuring the Truth: Yuri Tynianov`s Real` Pushkin, Anna Kurkina Rush
: Schwab V E : Conjuring of Light ISBN: 1785652443 ISBN-13(EAN): 9781785652448 : Titan books ltd. : : 1191.00 . :
: Londons fall and kingdoms rise while darkness sweeps the Maresh Empire, and the fraught balance of magic blossoms into dangerous territory while heroes struggle.
: Continue V. E. Schwab`s New York Times bestselling Shades of Magic series with A Conjuring of Light, now in a beautiful collector`s edition.
: Alicia Garcia, Christine Wang, Margaret Ellen Di G : Conjuring Bearden ISBN: 0938989278 ISBN-13(EAN): 9780938989271 : Wiley EDC : : 2401.00 . : .
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Conjuring Bearden, a richly illustrated exhibition catalog, explores the theme of the “conjur woman” in the work of artist Romare Bearden (1911–1988). Throughout his career, Bearden represented the female figure of the conjurer, or her Caribbean equivalent, the Obeah woman, in his art. Enthralled by her spirituality and power to transform, Bearden depicted the Obeah in his collage, photomontage, and watercolors. Although much has been written about Bearden, this is the first book to critically address his obsessive and creative relationship with this figure of the black vernacular.
One of Bearden’s most striking methods for introducing the figure of the conjur woman in his art was by distilling Cubist and Dadaist fracture through the deconstructive aesthetics of jazz compositions and African American folk collage and assemblage. With arresting color, Bearden’s conjurers were neither eroticized nor made passive. Essays look at Bearden’s thematic presentation of African American spirituality in relation to his experiments with form and technique. They trace his visual musings on African, Caribbean, and African American expressive mysticism and examine his magical reinvention of pictorial space and time.
This catalog accompanies an exhibition of the same title at the Nasher Museum of Art at Duke University, which will be on display from March 4, 2006 through July 16, 2006. Together, they build on the findings of The Art of Romare Beaden, a major retrospective organized by the National Gallery of Art that toured nationwide.
: In his eighty-eighth year, John Boorman CBE uses his time in lockdown to reflect on the splendour of the surrounding nature of County Wicklow. Poetry flows from his pen as he sits chairbound among his trees and flora: sycamores, beech, oak, redwood, shrubs and flowers, birdsong and shifting skies are luminously recorded as the world falls silent.
: The team behind Computer Science for Fun (CS4FN), brings you Conjuring with Computation: A Manual of Magic and Computing for Beginners. Develop your skills as a magician while also learning the basics of computer science by exploring its links to magic. Each chapter explains how to do a simple magic trick, step-by-step, then uses the trick to introduce linked fundamental ideas in computer science in a fun way.By reading the book you will learn to do self-working tricks, be able to hold magic shows, create your own versions of tricks, and with creativity even invent your own. We cover:The book includes profiles of computer scientists, alongside magicians with links to technology, through history.Master conjuring and thinking computationally.
: Kept hidden by the United States government for decades, the Site is a place where magic is real. But that doesnt mean that everything happening there is sparkly. Soul-sucking policies and layers of stifling bureaucracy threaten to take all the fun out of magic. Harris, a newbie Conjurer, starts his first day of work at the Site bursting with excitement: hes been brought on for an extremely big project happening the very next day. In a triumph over its habitual inefficiency, the Site manages to carry out its plan and conjure an actual dragon to be used by the military. The dragon (Zoth-Avarex, the self-proclaimed greatest dragon in the multiverse) immediately eats the person next to him, snatches a "princess" from the ranks of the Conjuring Department, and flies away to the Space Needle. There he manipulates the media, outwits the Sites bumbling management, demands sixty-three billion dollars worth of treasure (because Smaug was said to have had sixty-two billion in his hoard), threatens to destroy the city-and installs a couple of food trucks. The "princess" is the twin sister of Harriss crush Ana, and the fiancee of his new friend Jake. Harris, Ana, and Jake team up with a rule-breaking magician on a quest to send the smart-ass, narcissistic dragon back from whence he came. Theyll need to travel to storied realms in order to find the magical items needed to defeat the dragon. As they quest through red tape and various familiar fantasy elements, Harris will need to somehow make his timidity, inexperience, and idealism work for him. Meanwhile, tension rises as the "princess" has escape plans of her own, and the Site management sends an alternate hero off in a rowboat to visit a surfing Merlin-a mission that ends up a lot more perilous than anyone had anticipated. While this book skewers the same fantasy genre it gleefully inhabits, it also pokes fun at corporate culture, todays obsession with wealth and celebrity, and our denial that life is anything more than meets the eye. Hapless Harris, believing in magic all along, learns to apply what hes picked up between the pages of fantasy literature.
Winner of the 2017 James M. Blaut Award from the Cultural and Political Ecology Specialty Group of the Association of American Geographers Honorable Mention for the 2016 Book Prize from the Association for Political and Legal Anthropology
Since the 1960s, when Brazil first encouraged large-scale Amazonian colonization, violence and confusion have often accompanied national policies concerning land reform, corporate colonization, indigenous land rights, environmental protection, and private homesteading. Conjuring Property shows how, in a region that many perceive to be stateless, colonists - from highly capitalized ranchers to landless workers - adopt anticipatory stances while they await future governance intervention regarding land tenure. For Amazonian colonists, property is a dynamic category that becomes salient in the making: it is conjured through papers, appeals to state officials, and the manipulation of landscapes and memories of occupation. This timely study will be of interest to development studies scholars and practitioners, conservation ecologists, geographers, and anthropologists.
: Historically, in India, we have instances of both unveiling and veiling that have been initiated by Indian Muslim women. The early 20th century saw many Muslim women joining the national movement, giving up veiling, feeling this was the only way for them to change their own, and the countrys, future. Almost a hundred years later, the hijab continues to be a bone of contention in India, though in very different ways. On one hand, the rape threats that hijabi/non-hijabi women frequently encounter in the cyber world reflect the extreme desperation of the aggravated Hindutva millennials who are made to believe that unveiling Muslim women is their right while a large segment of Indian Muslim women are increasingly convinced that wearing the hijab is their constitutional prerogative.
In the Western world the period from the mid-eighteenth through the nineteenth century was a time of expanding historical consciousness, a period that saw the birth of modern historiography, a profusion of historical novels and paintings, and the widespread production of historical plays. Historical buildings, in themselves already of intense interest to people of the day, also found their way into the multiplyingcultural forms as concrete presences anchoring a novelists, poets, painters, or, eventually, filmmakers vision of the past. In recent years a number of blockbuster films have used historically significant buildings as filming locations because buildings can concretely bring a former era or fictional world closer to contemporary viewers. Conjuring the Real traces the genealogy of this representational role of architecture, going back through the history of film and then further in literature, art, and theater. The contributors examine the ways in which authors, artists, and stage managers used complex depictions of buildings to feed and shape the audiences historical imagination.
How can we understand the significance of architecture, not through its original design and construction but through the ways in which the public experiences, perceives, and understands it? The contributors pursue this question through the ideas of secondary portrayers of historical buildings, such as writers and artists, and then through the responses of those who read and view these creations.
