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Engaging teaching activities and rare, inside glimpse into Marc Brown's creative process that will captivate your students almost as much as Arthur does!
Animal expressions: Franz Marc's search for a universal art Franz Marc (1880-1916) became known principally for his images of animals: blue horses, yellow tigers, red fawns. What was it that led him to concentrate on painting animals? Marc himself explained his choice of subject matter in these words: "From an early date I felt humankind to be 'ugly'; animals seemed to me possessed of a greater beauty and purity..." Seeing Marc merely as a painter of animals proves, however, premature. Marc, cofounder of the Blauer Reiter group of Expressionist artists, was deeply dissatisfied with the impurity of the world, and was on a quest for a universal art which would resolve the contrarieties of life in the harmony of creation. Using pure colors highly charged with symbolic values, adopting crystalline shapes, and absorbing the influence of Cubism, he moved steadily towards an abstract order of image, coming closer to his own understanding of a better world. At the age of 36, Franz Marc's life was cut short when he died in the Battle of Verdun. About the Series: Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions
Created for librarians new to MARC and for those accustomed to using MARC data, this handbook explains all three types of MARC records, and it gives considerations and specifications for MARC database processing, MARC products, and online systems. Byrne addresses MARC format integration in a separate chapter new to this edition and thoroughly explains the new and changed MARC codes that resulted from MARC format integration. In another new chapter she covers the MARC Format for Community Information.
An ever-increasing proportion of our lives is spent in supermarkets, airports and hotels, on motorways or in front of TVs, computer and cash machines. This invasion of the world by what Marc Auge calls non-space results in a profound alteration of awareness- something we perceive, but only in a partial and incoherent manner. Auge uses the concept of supermodernity to describe the logic of these late-capitalist phenomena a logic of excessive information and excessive space. In this fascinating and lucid essay he seeks to establish and intellectual armature for an anthropology of supermodernity. Starting with an attempt to disentangle anthropology from history, Auge goes on to map the distinction between place, encrusted with historical monuments and creative social life, and non-place, to which individuals are connected in a uniform manner and where no organic social life is possible. Unlike Baudelairean modernity, where old and new are interwoven, supermodernity is self-contained- from the motorway or aircraft, local or exotic particularities are presented two-dimensionally as a sort of theme-park spectacle. Auge does not suggest that supermodernity is all-encompassing- place still exist outside non-place and tend to reconstitute themselves inside it. But he argues powerfully that we are in transit through non-place for more and more of our time, as if between immense parentheses, and concludes that this new form of solitude should become the subject of an anthropology of its own.
Presents the life of the artist and author known primarily for his more than thirty children's books featuring Arthur the aardvark.
Provides an introduction to MARC21, including quizzes, tables, and examples, to explain the shared language of tags, subfields, indicators, and codes.
Traces the life of the French-Jewish patriot who was a major participant in the French Resistance during World War II
Renowned Israeli-American scholar Harshav presents the first comprehensive investigation of Marc Chagall's life and consciousness after the classic 1961 biography by Chagall's son-in-law Franz Meyer.
Marc Blitzstein was one of the 20th century's most important American composers, lyricists, and critics, often credited with having virtually invented opera in the American vernacular. Called the father of American opera in the vernacular by luminaries Aaron Copland and Leonard Bernstein, Blitzstein was a masterful pianist, coach, and accompanist, though, ironically, he made more money on the lyrics to one song--Mack the Knife--than on everything else he ever did. Blitzstein's brilliant career was cut short in 1964 when he died at the age of 58. This book catalogs Blitzstein's own writings and writings about him, followed by detailed listings (chronological, alphabetical, and genre), analysis, a comprehensive performance history, and summaries of all known critiques of his 128 original musical works and 18 texts set to the music of others. This is followed by a complete discography/videography (commercial and private), and an index of names and organizations. Also discussed in detail are the ways in which Blitzstein took music from his earlier works and developed it in his later works. This book provides a unique and full perspective on this influential American composer.
Provides information on the life and career of Marc Chagall, discussing his influence on the art world of the twentieth century.
This work, by the co-founder of the "Annales School" deals with the uses and methods of history. It is useful for students of history, teachers of historiography and all those interested in the writings of the Annales school.
The third world war ended in great devastation but the mindset of the survivors had Fundamentally changed. new ways of governing the world had to be found and implemented. the war ended with the discovery of 'the Darkness' a force, that infects people leaving them victim to their baser thoughts and instincts. Many hundreds of years had passed when Marc a young street fighter is caught by the local watch and would have been sent to a correction prison or labour camp, but Sir Rueben steps in and recruits Marc to fight against the 'darkness' and in doing so Marc's eyes are opened to the possibilities that the world may offer. However, before he is able to develop these possibilities Marc is called upon to betray Sir Rueben or forfeit his mother's life. Has the story come to an end before it has begun?
Tourists climb the Eiffel Tower to see Paris. Parisians know that to really see the city you must descend into the metro. In this revelatory book, Marc Auge takes readers below Paris in a work that is both an ethnography of the city and a personal narrative. Guiding us through history, memory, and physical space, Auge juxtaposes the romance of the metro with the reality of multiethnic urban France. His work is part autobiography, with impressions from a lifetime riding the trains; part meditation on self and memory reflected in the people and places underneath Paris; part analysis of a place where the third world and the first world meet, where remnants of cultures move and press together; and part a reflection on anthropology in an era of globalization and urban development. Although he is a pillar of French thought, In the Metro is Auge's first major critical and creative work translated into English. It shows him to be firmly rooted in a tradition of literary ethnography that reaches back to Claude Levi-Strauss and Michel de Certeau, but also engaged in current theoretical debates in literary and cultural studies. In Auge's idiosyncratic and innovative approach, the act of observing the quotidian is elevated to an art. The writer and his history become part of the field he observes, and anthropology interacts with a site -- urban life -- usually reserved for sociology and cultural studies. Throughout, Auge reveals a passion for his milieu, seeing the metro as a place rich with history and literature -- an eclectic egalitarian society.
A composer and lyricist of enormous innovation and influence, Marc Blitzstein remains one of the most versatile and fascinating figures in the history of American music, his creative output running the gamut from films scores and Broadway operas to art songs and chamber pieces. A prominent leftist and social maverick, Blitzstein constantly pushed the boundaries of convention in mid-century America in both his work and his life. Award-winning music historian Howard Pollack's new biography covers Blitzstein's life in full, from his childhood in Philadelphia to his violent death in Martinique at age 58. The author describes how this student of contemporary luminaries Nadia Boulanger and Arnold Schoenberg became swept up in the stormy political atmosphere of the 1920s and 1930s and throughout his career walked the fine line between his formal training and his populist principles. Indeed, Blitzstein developed a unique sound that drew on everything contemporary, from the high modernism of Stravinsky and Hindemith to jazz and Broadway show tunes. Pollack captures the astonishing breadth of Blitzstein's work--from provocative operas like The Cradle Will Rock, No for an Answer, and Regina, to the wartime Airborne Symphony composed during his years in service, to lesser known ballets, film scores, and stage works. A courageous artist, Blitzstein translated Bertolt Brecht and Kurt Weill's The Threepenny Opera during the heyday of McCarthyism and the red scare, and turned it into an off-Broadway sensation, its "Mack the Knife" becoming one of the era's biggest hits. Beautifully written, drawing on new interviews with friends and family of the composer, and making extensive use of new archival and secondary sources, Marc Blitzstein presents the most complete biography of this important American artist.
The eagerly awaited first cookbook from one of Food Network’s favorite competitors on the wildly popular Iron Chef America Chef Marc Forgione opened his eponymous New York City restaurant in 2008 to widespread acclaim, becoming the youngest American-born chef and owner to receive a Michelin star in consecutive years. Upon winning Season 3 of Food Network’s The Next Iron Chef, Forgione joined the ranks of former and current stars and best-selling authors such as Mario Batali and Bobby Flay. He can now be seen competing as one of the stars of the beloved Iron Chef America. Forgione’s first cookbook features gorgeous photos throughout and 170 recipes with restaurant signature favorites including Chili Lobster and Chicken Under a Brick. The cookbook features not only recipes but also stories of an unlikely journey to where Chef Forgione and the restaurant are now. Flavor comes first, but Forgione is like an artist in the way he presents food. His goal with the book is not to just present a collection of recipes but to challenge home cooks and aspiring chefs, helping them to elevate their skills in the kitchen.
Marc Chagall was born into a strict Jewish family for whom the ban on representations of the human figure had the weight of dogma. A failure in the entrance examination for the Stieglitz School did not stop Chagall from later joining that famous school founded by the Imperial Society for the Encouragement of the Arts and directed by Nicholas Roerich. Chagall moved to Paris in 1910. The city was his “second Vitebsk”. At first, isolated in the little room on the Impasse du Maine at La Ruche, Chagall soon found numerous compatriots also attracted by the prestige of Paris: Lipchitz, Zadkine, Archipenko and Soutine, all of whom were to maintain the “smell” of his native land. From his very arrival Chagall wanted to “discover everything”. And to his dazzled eyes painting did indeed reveal itself. Even the most attentive and partial observer is at times unable to distinguish the “Parisian”, Chagall from the “Vitebskian”. The artist was not full of contradictions, nor was he a split personality, but he always remained different; he looked around and within himself and at the surrounding world, and he used his present thoughts and recollections. He had an utterly poetical mode of thought that enabled him to pursue such a complex course. Chagall was endowed with a sort of stylistic immunity: he enriched himself without destroying anything of his own inner structure. Admiring the works of others he studied them ingenuously, ridding himself of his youthful awkwardness, yet never losing his authenticity for a moment. At times Chagall seemed to look at the world through magic crystal – overloaded with artistic experimentation – of the Ecole de Paris. In such cases he would embark on a subtle and serious play with the various discoveries of the turn of the century and turned his prophetic gaze like that of a biblical youth, to look at himself ironically and thoughtfully in the mirror. Naturally, it totally and uneclectically reflected the painterly discoveries of Cézanne, the delicate inspiration of Modigliani, and the complex surface rhythms recalling the experiments of the early Cubists (See-Portrait at the Easel, 1914). Despite the analyses which nowadays illuminate the painter’s Judaeo-Russian sources, inherited or borrowed but always sublime, and his formal relationships, there is always some share of mystery in Chagall’s art. The mystery perhaps lies in the very nature of his art, in which he uses his experiences and memories. Painting truly is life, and perhaps life is painting.
Love thy neighbor? Things had a way of happening around Robin Johnson. She always seemed to be in the middle of some scrape or another! She could understand why the cool, discerning lawyer Marc Hammond should have reservations about hiring Robin as his great-aunt's companion. She was hardly the quiet and retiring type—but then, neither was his great-aunt! It looked as if Marc was going to have his hands full with Robin in the house. She was quite simply enough to drive any man to distraction!
Marc Bloch has been very influential in the development of both history and social science. Comparative historians, historical geographers, and historical sociologists have all pointed to his work as a model. This book is the first detailed examination of the relationship of his work to both Durkheimian sociology and Vidalian geography. Through a careful examination of the debates in which he was involved and the institutional circumstances in which he worked, it places Bloch's work within its intellectual context, and assesses the nature of his contribution. Professor Friedman argues that, despite the frequent claims of scholars in history, sociology and geography, Bloch did not adopt either the Durkheimian or Vidalian approach. Both disciplines were central to his intellectual development, but Bloch's relationships to the two disciplines were interdependent, and the result was his own highly acclaimed and unique approach.
GROWING UP IN Russia in the late 1800s, Marc Chagall doesn't know what art is. He doesn't even know what drawing is until one of hisschoolmates shows him how to trace a picture in a magazine. Marc tries it himself, then decides to pull pictures out of his own mind - his Uncle Noah on the roof, giant chickens, flying cows, happy men with fiddles, and women with lambs. Suddenly Marc knows what he wants to do with his life. He wants to be an artist!