This book blesses the physical house and the protection it offers, wishing for its inhabitants ""a full portion of life's beauty."" It then grows more specific, hoping for kindness, companionship, peace, orderliness and the happiness that overflows into celebration. Poltarnees, drawing upon his library of antique images, has added pictures which best give each thought its most vivid reality. This book makes an excellent gift for any house.
In this bestselling autobiography, completed shortly before his death in 1984, Ansel Adams looks back at his legendary six-decade career as a conservationist, teacher, musician, and, above all, photographer. Written with characteristic warmth, vigor, and wit, this fascinating account brings to life the infectious enthusiasms, fervent battles, and bountiful friendships of a truly American original.
Dust Jacket : Very Good
"After reading Teaching to Transgress I am once again struck by bell hooks's never-ending, unquiet intellectual energy, an energy that makes her radical and loving." -- Paulo Freire
In Teaching to Transgress, bell hooks--writer, teacher, and insurgent black intellectual--writes about a new kind of education, education as the practice of freedom. Teaching students to "transgress" against racial, sexual, and class boundaries in order to achieve the gift of freedom is, for hooks, the teacher's most important goal.
bell hooks speaks to the heart of education today: how can we rethink teaching practices in the age of multiculturalism? What do we do about teachers who do not want to teach, and students who do not want to learn? How should we deal with racism and sexism in the classroom?
Full of passion and politics, Teaching to Transgress combines a practical knowledge of the classroom with a deeply felt connection to the world of emotions and feelings. This is the rare book about teachers and students that dares to raise questions about eros and rage, grief and reconciliation, and the future of teaching itself.
"To educate is the practice of freedom," writes bell hooks, "is a way of teaching anyone can learn." Teaching to Transgress is the record of one gifted teacher's struggle to make classrooms work.
Storm Chasers meets Stranger Things An action-packed coming-of-age story of both natural disaster and the bravery it takes to face it.
When a tornado watch is issued one Tuesday evening in June, twelve-year-old Dan Hatch and his best friend, Arthur, don't think much of it. After all, tornado warnings are a way of life during the summer in Grand Island, Nebraska.
But soon enough, the wind begins to howl, and the lights and telephone stop working. Then the emergency siren starts to wail. Dan, his baby brother, and Arthur have only seconds to get to the basement before the monstrous twister is on top of them.
Little do they know that even if they do survive the storm, their ordeal will have only just begun...
On September 13, 1862, in a field near Frederick, Maryland, four Union soldiers hit the jack-pot. There they found, wrapped carelessly around three cigars, a copy of General Robert E. Lee's most recent orders detailing Southern objectives and letting Union officers know that Lee had split his Army into four vulnerable groups. General George B. McClellan realized his opportunity to destroy the Army of Northern Virginia one piece at a time. "If I cannot whip Bobbie Lee," exulted McClellan, "I will be willing to go home." But the notoriously prudent Union general allowed precious hours to pass, and, by the time he moved, Lee's army had begun to regroup and prepare for battle near Antietam Creek. The ensuing fight would prove to be not only the bloodiest single day of the entire Civil War, but the bloodiest in the history of the U.S. Army.
Countless historians have analyzed Antietam (known as Sharpsburg in the South) and its aftermath, some concluding that McClellan's failure to vanquish Lee constituted a Southern victory, others that the Confederate retreat into Virginia was a strategic win for the North. But in Antietam: The Soldiers' Battle, historian John Michael Priest tells this brutal tale of slaughter from an entirely new point of view: that of the common enlisted man. Concentrating on the days of actual battle--September 16, 17, and 18, 1862--Priest vividly brings to life the fear, the horror, and the profound courage that soldiers displayed, from the first Federal cavalry probe of the Confederate lines to the last skirmish on the streets of Sharpsburg. Antietam is not a book about generals and their grand strategies, but rather concerns men such as the Pennsylvanian corporal who lied to receive the Medal of Honor; the Virginian who lay unattended on the battlefield through most of the second day of fighting, his arm shattered from a Union artillery shell; the Confederate surgeon who wrote to the sweetheart he left behind enemy lines in Harrisburg, Pennsylvania that he had seen so much death and suffering that his "head had whitened and my very soul turned to stone."
Besides being a gripping tale charged with the immediacy of firsthand accounts of the fighting, Antietam also dispels many misconceptions long held by historians and Civil War buffs alike. Seventy-two detailed maps--which describe the battle in the hourly and quarter-hourly formats established by the Cope Maps of 1904--together with rarely-seen photographs and his own intimate knowledge of the Antietam terrain, allow Priest to offer a substantially new interpretation of what actually happened.
When the last cannon fell silent and the Antietam Creek no longer ran red with Union and Confederate blood, twice as many Americans had been killed in just one day as lost their lives in the War of 1812, the Mexican War, and the Spanish-American war combined. This is a book about battle, but more particularly, about the human dimension in battle. It asks "What was it like?" and while the answers to this simple question by turns horrify and fascinate, they more importantly add a whole new dimension to the study of the American Civil War.
An enquiry into the historical understanding of pictures - something sought not only by art historians but by anyone who looks at a picture in the knowledge that it is old or comes out of a culture different from their own.
Whether you are a business manager, teacher, writer, technician, or student, you'll find Drawing on the Artist Within the most effective program ever created for tapping your creative powers. Profusely illustrated with hundreds of instructional drawings and the work of master artists, this book is written for people with no previous experience in art.AH-HA I SEE IT NOW
Everyone has experienced that joyful moment when the light flashes on -- the Ah-Ha of creativity. Creativity. It is the force that drives problem-solving, informs effective decision-making and opens new frontiers for ambition and intelligence. Those who succeed have learned to harness their creative power by keeping that light bulb turned on. Now, Betty Edwards, author of Drawing on the Right Side of the Brain, the million-copy best-seller that proved all people can draw well just as they can read well, has decoded the secrets of the creative process to help you tap your full creative potential and apply that power to everyday problems. How does Betty Edwards do this? Through the power of drawing -- power you can harness to see problems in new ways. You will learn how the creative process progresses from stage to stage and how to move your own problem-solving through these key steps:
* First insight
* Illumination (the Ah-Ha )
* Verification Through simple step-by-step exercises that require no special artistic abilities, Betty Edwards will teach you how to take a new point of view, how to look at things from a different perspective, how to see the forest and the trees, in short, how to bring your visual, perceptual brainpower to bear on creative problem-solving.
This richly illustrated panorama of seventeenth-century French painting surveys the works of Poussin, Vouet, Le Sueur, de La Tour, Mignard, and other great and little-known artists. It places this art in relation to literary, political, philosophical, and social developments of the period; considers the foundation of the Royal Academy of Painting in 1648; discusses the influence of Mazarin on artistic developments; explores issues of status, patronage, and connoisseurship; and reexamines the notion of a "French School" of painting, first proposed by the theorist Roger de Piles in 1699.