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Catalogue complet

Tambling Kirsten: Shakespearean Objects
in the Royal Collection, 1714–1939

Shakespearean Objects in the Royal Collection, 1714–1939

From National Treasure to Family Heirloom

A photographic celebration of the great Spanish city, from Alfonso to Thomas StruthThis volume features more than 150 photographs by some of the greatest names in photography, both Spanish and international, together with an exhaustive essay by the writer Antonio Muñoz Molina on Madrid's illustrious history as a subject for photography. It includes the brilliant photographs of Alfonso, perhaps the greatest graphic chronicler of Madrid at the beginning of the 20th century; the prewar and wartime images of Henri Cartier-Bresson, Robert Capa and Gerda Taro; the postwar portraits of William Klein, Francesc Català-Roca and Ramón Masats, among others; the post-Franco developing society immortalized by photographers from Spain and elsewhere such as Gianni Ferrari; the mythical images of the Movida in Madrid by Alberto García-Alix; and the cultural and economic environment of the 21st century through the eyes of Cristina García Rodero and Thomas Struth.

Madrid: Portrait of a City

Oxford World's Classics

''As flies to th' wanton boys are we to th' gods: They bite us for their sport.' Set in the recesses of British antiquity, King Lear broods on gift-giving, gratitude, service and love; the bonds that sustain human life within families, communities and the state. Concerned with what remains and what is possible when these bonds crack, cool off or come apart, the tragedy forces repeated confrontations with abysmal cruelty, which it yokes together with instances of compassion that seem chillingly frail by comparison. By the end of the twentieth century, Lear took its place not only as Shakespeare's greatest work, but also his best play for our times, fitting then, in its anguish and denials of consolation, as it is now. Its wild mixtures of levity and terror, kindness and malevolence, what came to be called its absurdity, was prized as especially modern. The New Oxford Shakespeare offers authoritative editions of Shakespeare's works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare's work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare's work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The New Oxford Shakespeare

King Lear

Classical Continuum

The Citations of Homeric Poetry on Grammatika Vases

From the Heart

Oxford Studies in American Literary History

A Socio-Institutional History of Literary Value

Literature's Social Lives

This story is part of Reading Champion, a series carefully linked to book bands for children starting to read independently

Blue band 4

Reading Champion: The Secret Seven: The Lost Car

Based on first-hand accounts, original documentation and unpublished images, this is a highly illustrated history of the Flakpanzer in World War II. As the war progressed, Allied and Soviet forces began to deploy ground-attack aircraft armed with cannons, bombs or rockets to halt German armoured columns. Consequently, field commanders began to demand for their units to be issued with effective armoured anti-aircraft weapons. Renowned armour expert Thomas Anderson explains how the weapons were first mounted on light trucks and then, more effectively, on the chassis of light, medium or heavy half-tracks before orders were issued for a dedicated armoured Flakpanzer - the 2cm Flakpanzer 38(t) based on the chassis of a Czech-built PzKpfw 38(t). The effectiveness of this type saw the development of four further vehicles on the PzKpfw IV chassis: FlakPz IV Wirbelwind (whirlwind), the 3.7cm FlaK 43 L/50 Ostwind (east wind), the 3.7cm FlaK 43 L/60 Möbelwagen (furniture van) and the 2cm Vierlingsflak 38 L/55. The final stages of the war also saw German field engineers mounting Flak weapons on all types of heavy truck or half-track chassis available. Drawing on after-action reports, original wartime documents and rare and previously unseen photographs, this is a comprehensive and fully illustrated study of the German development of Flakpanzers throughout World War II.

Flakpanzer

Classical Literature and Society

"Presenting a new approach to Euripides' plays, this book explores the playwright's ancient tragedies in relation to quotation culture. Treating extant works and lost works side-by-side, Matthew Wright presents a selective survey of ways in which Euripidean tragedy was quoted within antiquity, both in social contexts (on the comic stage, at symposia, in law courts, in education) and in different literary genres (drama, biography, oratory, philosophy, literary scholarship, history and anthologies). There is also a discussion of the connection between quotability and classic status, where Wright asks what quotations can tell us about ancient reading habits. The implication is that Euripides actively participated in quotation culture by deliberately making certain portions of his plays stand out as especially quotable"--

Euripides and Quotation Culture

"We are a much-lectured people," wrote Robert Spence Watson in 1897. Beginning at mid-century, cities and towns across England used the popular lecture for purposes ranging from serious education to effervescent entertainment and from regional pride to imperial belonging. Over time, the popular lecture became the quintessential embodiment of Victorian knowledge-based culture, which itself ranged from the production of new knowledge in the most elite of learned societies to the consumption of established knowledge in middle-class clubs and the hundreds of humble mechanics' institutions initially founded to provide scientific instruction to workers. What did the "average" Victorian talk and think about? How did the knowledge-based culture of lecture and debate enable men and women to demonstrate both civic engagement and cultural competence? How does this knowledge-based culture and its changing expression give us ways to look at Victorian citizenship long before the extension of the franchise? With engaging and accessible prose Anne Rodrick draws from a variety of primary sources to provide fascinating answers to these pertinent questions. Based on the analysis of several thousand lectures and debates delivered over more than 50 years, this book digs deeply into what those individuals below the most elite levels thought, heard, debated, and claimed as a badge of cultural competence. By the turn of the 20th century, the popular lecture was competing for attention with new institutions of leisure and of higher education, and the discourse surrounding its place in contemporary England helps illuminate important debates over access to and deployment of knowledge and culture.

Knowledge-Based Culture and Participatory Citizenship

Lecturing the Victorians

Scholars and contemporary artists reckon with decommissioned monuments, examining fraught narratives of the legacy of the Civil War and slavery as well as national identity in the United StatesThis volume features a selection of decommissioned monuments, many of them Confederate, presented alongside contemporary artworks that address American history and national identity. MONUMENTS, which accompanies the eponymous exhibition, marks the last several years of monument removals as a historic moment and aims to build a better understanding of our shared history and ideals, while holding the monuments accountable to the present. Featuring contributions by the exhibition curators, Bennett Simpson, Hamza Walker and Kara Walker, as well as scholars, poets and artists, the publication attends to the social, political, historical and art historical context of these monuments as well as the legacies of the people and events they commemorate. It includes additional essays by Sven Beckert, Emily Bingham, Thomas J. Brown, Karen Cox, Hilary N. Green, Grace Elizabeth Hale, Michael Lobel, Dani R. Merriman, Charmaine A. Nelson, Michael Ralph, Kirk Savage, Cherise Smith, Tsione Wolde-Michael and Dell Upton, and contributions by Derrick Austin, Mark Thomas Gibson, David Hartt, Ashley M. Jones, Melissa Lyttle and Kiki Petrosino. Artists include: Bethany Collins, Karon Davis, Abigail DeVille, Stan Douglas, Leonardo Drew, Torkwase Dyson, Kevin Jerome Everson, Nona Faustine, Jon Henry, Kahlil Robert Irving, Monument Lab, Walter Price, Martin Puryear, Andres Serrano, Cauleen Smith, Hank Willis Thomas, Davone Tines, Kara Walker. This book was published in association with The Museum of Contemporary Art, Los Angeles; The Brick.

MONUMENTS

Then And Now

Texas Then and Now features the most prominent locations from around the state, comparing vintage photographs with modern views of the same scenes today.

Texas Then and Now

How a lifelong engagement with experimental art informed the brilliant Czech-Brazilian philosopher Vilém Flusser’s early vision of a world dominated by glowing screens. Predicting the importance of technology and images in the twenty-first century as early as the 1970s, Vilém Flusser warned, “the basic structure of our thinking is about to experience a mutation.” The bewitching images and screens that surround us could lead toward a centrally programmed, totalitarian society—or another, better one characterized by dialogue and collaboration among humans and new forms of intelligence. In this book on the idiosyncratic and prescient Czech-Brazilian philosopher, art historian and critic Martha Schwendener explores the profound effect of art on Flusser’s thought. The Society of the Screen reveals how Flusser’s lifelong engagement with experimental practices—from abstract painting and concrete poetry in Brazil to video, cybernetics, and photography in Europe and the United States—as well as his extensive involvement with the São Paulo Biennial informed his belief that we were moving from “history”—a civilization informed by linear writing—into “post-history,” dominated by technical images. The book delves deeply into how Flusser’s ideas evolved, particularly in correspondence and collaboration with artists like Mira Schendel, Fred Forest, Wen-Ying Tsai, Harun Farocki, Louis Bec, and Karl Gerstner.

Vilém Flusser’s Radical Prescience

The Society of the Screen

Tikhon Bellavin and the Orthodox Church in North America and Revolutionary Russia

The People's Patriarch

Shakespearean Objects in the Royal Collection, 1714–1939

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