Beasts and Priests collects for the first time more than ten years' worth of pointillist portraiture of the world's most legendary scene-makers Jim Blanchard.Much of the black-and-white ink work here has previously seen print in some of the world's better alternative magazines and news weeklies, and portrait subjects include:Redd Foxx,Frank Sinatra, Curtis Mayfield, Raymond Chandler, Ennio Morricone, Bill Hicks, and Lenny Bruce. Blanchard's work is often twisted, mutated and ultimately sickly gorgeous, with a pervasive psychedelic tone. Heavily influenced by such underground greats as Robert Williams and Victor Moscoso, Blanchard fuses meticulous craftsmanship with a pop underground sensibility to produce some of the most vivid and striking cartoon art in the world.
A celebration of the visual contributions of the bestiary--one of the most popular types of illuminated books during the Middle Ages--and an exploration of its lasting legacy. Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures such as the unicorn, siren, and griffin; exotic beasts including the tiger, elephant, and ape; as well as animals native to Europe like the beaver, dog, and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork, and sculpture. With over 270 color illustrations and contributions by twenty-five leading scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst. Published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center May 14 to August 18, 2019.
The book of Daniel 2 reveals by symbols the successive empires/kingdoms of the world with a statue of a human figure of a head of gold, chest of silver, thighs of bronze, legs of iron, and feet of a mixture of clay and iron. Daniel 7, which describes four beasts (a lion, a bear, a leopard, and a terrible beast with ten horns), covers the same period in world history as in chapter 2. While the king of Babylon saw the majestic power and grandeur of the Gentile empire/kingdoms, Prophet Daniel saw their real character, beastly conduct, wicked rule, and profligate government. All the beasts (empire/kingdoms) were destroyed by the Messiah, Immanuel (the Stone), who the builders of the nations of man rejected and who is the cornerstone of the holy nation of believers. Revelation 12 describes the great dragon thrown down, the age-old serpent that is called the devil and Satan, he who continually deceives and seduces the entire inhabited world. He was thrown down to the earth, and his angels were thrown down with him. This usurping dragon would form successive compacts with mankind for the dominion of the earth. Revelation 13 shows the final compact between the nations of man and the man of sin, Satan (the dragons beasts), engulfing even the holy people (Israel, the churchthe woman on the beast in Revelation 17). When the stone finally destroyed the lawless kings of the nations/kingdoms, their rule was dispersed to the lots of nation-states created by the common peoplethe rule of commoners. These are the nation-states of democratically elected commoners. Revelation 13 (and 17) shows the rebellion and apostasy of our Christendom/Queendom of Babylon, the great nation-states of man setting themselves up against the son of man, Immanuel. Why the stone is about to crush Christendom of Babylon the great! And the stone that smote the image became a great mountain or rock and filled the whole earth (Daniel 2:3435). Yes, he is the rock of ages!
Íosac Mulgannon is a man called to stand. Losing a grip on his mental and physical health, he is burdened with looking after a mute child whom the local villagers view as cursed. The aging farmer stubbornly refuses to succumb in the face of adversity and will do anything, at any cost, to keep hold of his farm and the child. This dark and lyrical debut novel confronts a claustrophobic rural community caught up in the uncertainties of a rapidly changing world.
Includes essays that were commissioned for the volume, this collection showcases definitive works that have shaped Nietzsche studies alongside new works of interest to students and experts alike. Suitable for the classroom and advanced research, it provides an introduction, annotated bibliography, and index.
'A Nietzschean Bestiary' gathers essays treating the most vivid & lively animal images in Nietzsche's work, such as the howling beast of prey, Zarathustra's laughing lions, & the notorious blond beast.
This book is the first scholarly English translation of the Ze’enah U-Re’enah, a Jewish classic originally published in the beginning of the seventeenth century, and was the first significant anthological commentary on the Torah, Haftorot and five Megillot. The Ze’enah U-Re’enah is a major text that was talked about but has not adequately studied, although it has been published in two hundred and seventy-four editions, including the Yiddish text and partial translation into several languages. Many generations of Jewish men and women have studied the Torah through the Rabbinic and medieval commentaries that the author of the Ze’enah U-Re’enah collected and translated in his work. It shaped their understanding of Jewish traditions and the lives of Biblical heroes and heroines. The Ze’enah U-Re’enah can teach us much about the influence of biblical commentaries, popular Jewish theology, folkways, and religious practices. This translation is based on the earliest editions of the Ze’enah U-Re’enah, and the notes annotate the primary sources utilized by the author.
Siew seeks to examine the events that will unfold within the three and a half years before the dawn of the kingdom of God on earth. He argues that John composed the textual unit of Rev 11:1--14:5 as a coherent and unified literary unit structured in a macro-chiasm. He pays special attention to the fusion of form and content and seeks to elucidate how the concentric and chiastic pattern informs the meaning of the literary units within 11:1--14:5, and proposes that the text of 11:1--14:5 is best analyzed using Hebraic literary conventions, devices, and compositional techniques such as chiasm, parallelism, parataxis, and structural parallelism. The macro-chiastic pattern provides the literary-structural framework for John to portray that the events of the last three and a half years unfold on earth as a result of what transpires in heaven. Specifically, the war in heaven between Michael and the dragon has earthly ramifications. The outcome of the heavenly war where Satan is defeated and thrown out of heaven to earth results in the war on earth between the two beasts of Rev 13 and the two witnesses of Rev 11. The narrative of the war in heaven (12:7-12) is seen as the pivot of the macro-chiastic structure. Siew pays close attention to the time-period of the three-and-a-half years as a temporal and structural marker which functions to unite the various units in 11:1--14:5 into a coherent and integral whole. The events of the last days will be centred in Jerusalem.
