The work explores the notion that we are all perceptually branded by the experiences and milieu of early childhood. The author illustrates this with tales set in his native Edinburgh, Scotland during the 1940s and 1950s. Through a series of adventures and misadventures, the young protagonist makes discoveries about life and people, ranging from the inconsistencies and contradictions of adult behavior to learning about mortality. In one episode, the young lad is tricked into having his tonsils removed. As he grows older, he learns about betrayal by adults and authority figures. Poems that reinforce each of these learning themes introduce each chapter and the use of local dialect sharpens the sense of location and social milieu. Exploring the universal themes of the innocence of childhood, “Figs of the Imagination” illustrates how much we are a product of the formative years and how these key life experiences prepare children to become adults.
The Fig Tree is a novel composed of the intertwining stories of the family of Jadran, a 30-something who tries to piece together the story of his relatives to better understand himself. Because he cannot understand why Anja walked out of their shared life, he tries to understand the suspicious death of his grandfather and the withdrawal of his grandmother into oblivion and dementia. With all his might, Jadran tries to understand the departure of his father in the first year of the war in the Balkans as he also tries to understand his mother, with her bewildering resentment of his grandfather, and her silent disappointment with his father. The Fig Tree is a multigenerational family saga, a tour de force spanning three generations from the mid-20th century through the Balkans wars of the 90s until present day. Vojnovic is a master storyteller, and while fateful choices made by his characters are often dictated by the historical realities of the times they live in, at its heart this is an intimate story of family, of relationships, of love and freedom and the choices we make.
In this enlarged and thoroughly revised third edition of his widely used text, Darwin Reid Payne explores the principles and philosophies that shape the visual elements of theatre. Payne sets out to discover who scenographers are and to define their responsibilities. He sees scenographers as not merely craftspersons but artists with "a special vision that spans all the arts." Such artists are in a position to "extend and amplify underlying meanings of the production." The proper goal of beginning scenographers, according to Payne, is one day to be able to approach the job as artists in full command of their craft. Payne seeks to instill in beginning scenographers a basic core of knowledge: an understanding of theatre history and the development of drama; a knowledge of art history and an understanding of periods and styles of architecture, painting, sculpture, furnishings, and costume; and a familiarity with the principles, techniques, and materials of pictorial and three-dimensional design. This new edition contains 248 illustrations, 38 more than the second edition. Payne's goal, certainly, is to teach students what to do and how to do it; equally important, however, is Payne's view that scenographers must know why. To Payne, "Scenography is an art whose scope is nothing less than the whole world outside the theatre." Scenographers must read not only in their own field but in others as well. Payne has incorporated into his text many suggestions for outside readings, quoting passages and even entire chapters from important works. Stressing research, Payne argues that without knowledge of the literature of their own and related arts, scenographers cannot grow. And that is the emphasis of this book: to present aspiring scenographers with an approach and a set of concepts that will enable them to grow. Toward that end, Payne establishes five priorities, the first of which is to develop in students what he calls "time vision," or the ability to "see" the historical past as a living place with living inhabitants. The second priority is to bring about an awareness that allows students to "see" beneath the surface of objects and events. Third, students must be helped to recognize and appreciate the difference between the "concept of space as it exists outside the theatre and the concept of space as it is used within the theatre." The fourth priority is to ingrain in students an understanding of the importance of imagery to the scenographer, and the final priority is to teach those technical skills necessary to carry out the concepts of the scenographer.
This remarkable book has endured as a true masterpiece of mathematical exposition. There are few mathematics books that are still so widely read and continue to have so much to offer—even after more than half a century has passed! The book is overflowing with mathematical ideas, which are always explained clearly and elegantly, and above all, with penetrating insight. It is a joy to read, both for beginners and experienced mathematicians. “Hilbert and Cohn-Vossen” is full of interesting facts, many of which you wish you had known before. It's also likely that you have heard those facts before, but surely wondered where they could be found. The book begins with examples of the simplest curves and surfaces, including thread constructions of certain quadrics and other surfaces. The chapter on regular systems of points leads to the crystallographic groups and the regular polyhedra in R 3 R3. In this chapter, they also discuss plane lattices. By considering unit lattices, and throwing in a small amount of number theory when necessary, they effortlessly derive Leibniz's series: π/4=1−1/3+1/5−1/7+−… π/4=1−1/3+1/5−1/7+−…. In the section on lattices in three and more dimensions, the authors consider sphere-packing problems, including the famous Kepler problem. One of the most remarkable chapters is “Projective Configurations”. In a short introductory section, Hilbert and Cohn-Vossen give perhaps the most concise and lucid description of why a general geometer would care about projective geometry and why such an ostensibly plain setup is truly rich in structure and ideas. Here, we see regular polyhedra again, from a different perspective. One of the high points of the chapter is the discussion of Schlafli's Double-Six, which leads to the description of the 27 lines on the general smooth cubic surface. As is true throughout the book, the magnificent drawings in this chapter immeasurably help the reader. A particularly intriguing section in the chapter on differential geometry is Eleven Properties of the Sphere. Which eleven properties of such a ubiquitous mathematical object caught their discerning eye and why? Many mathematicians are familiar with the plaster models of surfaces found in many mathematics departments. The book includes pictures of some of the models that are found in the Göttingen collection. Furthermore, the mysterious lines that mark these surfaces are finally explained! The chapter on kinematics includes a nice discussion of linkages and the geometry of configurations of points and rods that are connected and, perhaps, constrained in some way. This topic in geometry has become increasingly important in recent times, especially in applications to robotics. This is another example of a simple situation that leads to a rich geometry. It would be hard to overestimate the continuing influence Hilbert-Cohn-Vossen's book has had on mathematicians of this century. It surely belongs in the “pantheon” of great mathematics books.
This book charts a course through the equally inadequate options of despair and optimism to a responsible understanding and practice of Christian hope.
Potts also offers a detailed view of selected iconic works by sculptors ranging from Antonio Canova and Auguste Rodin to Constantin Brancusi, David Smith, Carl Andre, Eva Hesse and Louise Bourgeois - key players in modern thinking about the sculptural. The impact of minimalism features prominently in this discussion, for it disrupted accepted understanding of how a viewer interacts with a work of art, thereby placing the phenomenology of viewing three-dimensional objects for the first time at the center of debate about modern visual art."--Jacket.
Explains the mathematical concepts behind everyday life using clear explanations and examples of how mathematics can be applied to history, geography, astronomy, and biography.
From the wild and wacky world of favorite funnyman Jean Shepherd, a dozen truer-than-life tales of tailgating on the Jersey Tumpike, infuriating infants, and other everyday catastrophes, defeats, and humiliations that are the familiar fate of Americans everywhere. Jean Shepherd was one of America’s favorite humorists, his most notable achievement being the creation of the indefatigable Ralphie Parker and his quest for a BB gun in the holiday classic A Christmas Story. But he was so much more, a comic Garrison Keillor–like figure whose unique voice transcended the airwaves and affected a whole generation of nostalgic Americans. A Fistful of Fig Newtons is classic Jean Shepherd—sidesplittingly funny and sardonically irreverent. It is a brilliant comic assessment of American life—all of them delivered in Jean Shepherd’s witty, classy, unforgettable style.
This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. Imagination will remain a mystery--we will not be able to explain imagination--until we can break it into parts we already understand. Explaining Imagination is a guidebook for doing just that, where the parts are other ordinary mental states like beliefs, desires, judgments, and decisions. In different combinations and contexts, these states constitute cases of imagining. This reductive approach to imagination is at direct odds with the current orthodoxy, according to which imagination is a sui generis mental state or process--one with its own inscrutable principles of operation. Explaining Imagination upends that view, showing how, on closer inspection, the imaginings at work in hypothetical reasoning, pretense, the enjoyment of fiction, and creativity are reducible to other familiar mental states--judgments, beliefs, desires, and decisions among them. Crisscrossing contemporary philosophy of mind, cognitive science, and aesthetics, Explaining Imagination argues that a clearer understanding of imagination is already well within reach.
This book gathers peer-reviewed papers presented at the 1st International and Interdisciplinary Conference on Image and Imagination (IMG 2019), held in Alghero, Italy, in July 2019. Highlighting interdisciplinary and multi-disciplinary research concerning graphics science and education, the papers address theoretical research as well as applications, including education, in several fields of science, technology and art. Mainly focusing on graphics for communication, visualization, description and storytelling, and for learning and thought construction, the book provides architects, engineers, computer scientists, and designers with the latest advances in the field, particularly in the context of science, arts and education.
