Literature in Art Books

Dan Mufson quite masterfully brings together all of the elements required to provide real insight into the work of Reza Abdoh. It is a shame that more people have not been exposed to his work. My daughter enjoyed the book as well, and getting her to read anything of any length is usually a challenge.

"Once and for all," Jeanne Fahnestock argues in her soon-to-be-a-classic book, "the figures should come out of the cabinet of curiosities" (23). If the diligent, imaginative, bracing scholarship of Rhetorical figures in science does not accomplish that goal, then I'm a monkey's uncle: this book is a masterwork: easily the most important book in rhetoric of science over the last decade: among the most important books in rhetoric-period over at least the same stretch: the foremost contribution to figuration since I don't know when, maybe since Peacham: a study no one in the field of rhetoric can afford to do without: get it.

Rhetorical figures in science is a book with many virtues: a compelling case for figures as arguments; a superb history of figuration, which brings it into revealing alignment with topoi and enthymemes; a series of excellent to stunning critical readings; and one of the most astute and lucid readings of Aristotle's corpus in years

I HAD REALLY BEEN INTERESTED IN LEARNING MORE ABOUT L'HOMME TATOUE. THIS BOOK HAD SOME INTERESTING INFORMATION ABOUT THIS MUCH-TATTOOED GENTLEMAN. IT ALSO HAD A LOT OF OTHER INTERESTING FACTS ABOUT THE ART OF TATTOOING. WOULD RECOMMEND IT TO ANYONE INTERESTED IN THIS TYPE OF ART.

"FAST FORWARD" is an innovative new series looking behind the scenes at a wide range of subjects spanning from the Egyptian Pyramids to Natural Disasters and Robotics. This book begins with a single question: "What Are Robots?" and works its way casually through other topics like robot designs for hazardous conditions, the entertainment industry, the medical profession, and even outer space exploration. The book ends with a short glance towards the future and all the wonderful possibilities that await us. Additionally, the author, Mark Bergin, has included a glossary of terms, an index and a short list of "ROBOT FACTS" for easy reference for kids ages 9 - 12.

Bergin is also the illustrator of this fabulously designed book. He has really set himself apart as both an author and illustrator in this series. For the most part, I'd have to say the illustrations are the best part of this book. While the content is educational - the illustrations give this book an edge above the rest I've seen.

Bergin had also been previously commissioned by aerospace companies and has illustrated a number of books including "SPACE SHUTTLE" & "EXPLORATION OF MARS" in the FAST FORWARD SERIES. The author also consulted with Physics & Astronomy Professor, Peter Turvey, who teaches at the University of Lesicester in London, before writing this book.

The Italian Umberto Eco is a literary critic, novelist, and semiotician (studying symbols and symbol systems).

His introductory work to this fascinating field is "Semiotics and the Philosophy of Language" which is easier to start with. In "Theory of Semiotics" he presents his views. In his novel "The Name of the Rose" (1980) he brings the study of semiotics to fiction.

In this book, Eco sets out to illustrate how the reader engages in constructing meaning when reading texts. Like Roland Barthes and others in the field of semiotics (which is the study of symbols in culture), Eco draws upon Ferdinand de Saussure (Course in General Linguistics) and Claude Levi-Strauss (Structural Anthropology). Yet Eco recognizes that meaning is not merely governed by structure, but also interactively constructed by the reader/interpreter, who often inserts or fills-in missing meaning to construct a coherent picture.

Readers interested in questions of meaning, the philosophy of language, signs and symbols will find this a fascinating work. Although the subject matter is challenging, Eco's style is clear - he is a masterful writer.

Using wonderful art this book introduces the Russian alphabet in an easy to understand manner. Perfect for those of us who always wondered what those weird Russian symbols were. The book gives the Cyrillic spelling, the Roman spelling, and the English translation. For example, Beep = Veyer = Fan.

How often does one book offer an accessible, lively window on the inside world of the great artists, composers, writers and choreographers of our time? In The Saints of Modern Art, Riley uses the ideas of the withdrawal of the artist from the world, and the quest for perfection, to link figures as disparate as Jasper Johns and Glenn Gould, George Balanchine and Marcel Proust, Piet Mondrian and George Santayana, not to mention other essays on David Smith, Miro, Brice Marden, Elliott Carter, Walter Abish, Robert Mapplethorpe and others. The book is peppered with lively interviews with the artists, and photographs of little-known works as well as masterpieces. Few critical studies cover as much ground in an interdisciplinary way, without bogging down in jargon or false analogies. The "readings" of major works, such as Barnett Newman's "Stations of the Cross" or Miro's "Constellations" are thorough and loving guides to milestones in contemporary aesthetics, and every page is informed with passion and inside knowledge. A mus-have for those seriously interested in the arts of our time.

Just fininshing up a history term paper here for my major, and I thought I'd drop off a good word for the best secondary source on Sappho's life and work that I've ever seen. Ms. Williamson leaves no rock unturned, no aspect of Sappho's work or life unaddressed, and manages to do it in an entertaining and comprehensive way without running into 500 pages! If you are interested in Sappho at all beyond the text of her extant poetry, this is the book to buy!

Chris, contact me at once so we can discuss this. we must get movie rights so we can go forward. please let me know. i am going to get in

That Smaro Kamboureli has produced a scholarly study which shifts seamlessly between such topics as multicultural law, canonicity and minority writers, the body, and cultural hybridity, is impressive; that her meditation on diasporic literature (and film) never deviates from its lazer-like focus, even amid such disparate realms as these, is inspiring. In reading her words, I am as humbly and as willingly her student, as I was when I first sought her advice. Her navigation through the often daunting waters of Adorno, Spivak and (the less opaque) Bhabha, is itself a reading lesson, teaching the role of the critic, as much as the function of good criticism. The breadth of Professor Kamboureli's knowledge of subaltern theory, Canadian politics and literature, and the most recent (though not unchallenged) arguments of her contemporaries, is humbling as she engages with the most dynamic and exciting of literary critics--namely Linda Hutcheon, and Asha Varadharajan--to secure her place among them.