Set in 1885, The Ox-Bow Incident is a searing and realistic portrait of frontier life and mob violence in the American West. First published in 1940, it focuses on the lynching of three innocent men and the tragedy that ensues when law and order are abandoned. The result is an emotionally powerful, vivid, and unforgettable re-creation of the Western novel, which Clark transmuted into a universal story about good and evil, individual and community, justice and human nature. As Wallace Stegner writes, [Clark's] theme was civilization, and he recorded, indelibly, its first steps in a new country.
"Based on widely scattered sources - personal papers and correspondence; Clark's unpublished stories and poems; and interviews with family members, friends, and others - Benson focuses on Clark's intellectual and literary life as a writer, teacher, and westerner, balancing his account of the experiences, people, and settings of Clark's life with an examination of Clark's complex psyche and the crippling perfectionism that virtually ended his career. He also offers an assessment of Clark's place in Western writing."--Jacket.
Know thyself One of the biggest and most glaring pitfalls new investors face is not knowing their own money mentality, especially when it comes to risk. They don’t have enough experience to know their comfort level, and so they make mistakes like buying aggressively at the top, selling in desperation at the bottom, and—the cardinal sin—leveraging funds that should be set aside for long-term peace of mind. Things don’t have to play out this way. Investors can do better. One of the biggest steps in the right direction is taking time to make an honest assessment of your risk tolerance. Chances are, it’s a more complicated issue than it seems on the face of things. In Your Money Mentality, Ted Oakley explores common investor profiles, types of risk, considerations in your self-assessment, and what steps you can take to ensure the guidance you’re receiving matches your priorities. Risk tolerance is at the heart of most money decisions, and learning to know yourself will make you a better investor and a better partner for the people you trust to give you financial guidance.
The Portland Vase is the most famous cameo-glass vessel from antiquity, probably made during the reign of the Roman Emperor Augustus (27BC - AD14). The scenes on the vessel have long perplexed and enchanted in equal measure. The subject is clearly one of love and marriage, but who are the figures and are they historical or mythological? This book offers an exciting new reading of the vase, setting it in the context of the dramatic relationships between the houses of Octavian, Antony and Cleopatra. It also explores the lively history of the vase, from the earliest records in Italy in 1601, to its purchase by Sir William Hamilton and the dukes of Portland, and its abiding influence on British craftsmen such as Josiah Wedgwood whose copies helped to make it famous.
On a summer morning in 1833, Thomas Cole, a British-born, American landscape painter climbed to the top of Mount Holyoke in central Massachusetts and made a sketch of the Connecticut River where it bends and resembles an ox yoke. Three years later the sketch he made that morning became View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow). The four by six foot painting, now a key work of American art has been described as Coles attempt to create a moving time/space panorama within a single frame the passage of time is represented by the ongoing fury of the storm on the mountain as sunshine returns to the meadow below. Cole was skeptical about progress and the painting may represent a warning about the clearing of wilderness to make open land for farms and factories. Nearly two hundred years after Cole painted The Oxbow, the American photographic artist, Joel Sternfeld, walked into the mile square field depicted in the lower right quadrant of Coles painting. Sternfeld had first photographed this field in 1978 while traveling on American Prospects andby the time he returned in 2006, the Oxbow in the river was crossed by an interstate highway and the destructive effects of progress that Cole had feared were making themselves apparent globally as climate change. Sternfeld spent the next year and a half walking that field, commuting to it on an almost daily basis from his home in southern Vermont. His archive is a record of classic New England seasonality, a nature study unlike any other as it is made with the foreknowledge that because of global warming it will never be the same again. His choice of subject matter, a flat unremarkable corn and potato field (archetypal new world crops), signals a conceptual stance away from previous nature depictions: his field is neither Beautiful, nor Sublime, nor Picturesque. The flatness of the field, an unusual stretch of visual freedom in the New England highlands offers an eloquent emptiness and a vessel for the true subject his work: iconic seasonal effect as manifestation of the orbiting Earth.
A study guide for Walter Van Tilburg Clark's "The Ox-Bow Incident", excerpted from Gale's acclaimed Novels for Students series. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Novels for Students for all of your research needs.
This collection of papers on Greek art by pupils and friends is offered to John Boardman on his seventieth birthday. Many of the objects discussed here in his honour are published for the first time. Contents include: The Hesiodic myth of the five races and the tolerance of plurality in Greek mythology (Christiane Sourvinou-Inwood) ; A Minoan Ringstone from the Idaean Cave (Yannis Sakellarakis) ; A Mycenaean Sealstone from Gla (Spyros Iakovidis) ; A Geometric electrum band from a tomb on Skyros (Effie Sapouna-Sakellaraki) ; A new Geometric amphora in the Benaki Museum (Nota Kourou) ; The orientalising period in Macedonia (Stephi Korti-Konti) ; East Greek and related pottery at Harvard (Eleutherios Yalouris) ; Rizari, a cemetery in Chios town (Anna Lemos) ; A skyphos by the Affecter in Athens (Maria Pipili) ; An early Attic Ionic capital and the kekropion on the Athenian Acropolis (Manolis Korres) ; A new Aphrodite for John (Angelos Delivorrias) ; Helen, the seductress? (Anthi Dipla) ; Herakles and a "man in need?" (Marilena Carabatea) ; Kraters, libations and Dionysiac imagery in early south Italian red-figure (Maria-Christina Tzannes) ; A symposion scene on an Attic fourth-century calyx-crater in St. Petersburg (Thaleia Sini) ; Eleusinian iconography (Michalis Tiverios) ; Reflections on the Piraeus bronzes (Olga Palagia) ; Greek gem-cutters in Babylonia and beyond (Dimitris Plantzos) ; Spoons in the Greek world (Eleni Zimi) ; Greek gods and heroes in Cyprus
The Death of Archaeological Theory? addresses the provocative subject of whether it is time to discount the burden of somewhat dogmatic theory and ideology that has defined archaeological debate and shaped archaeology over the last 25 years. Seven chapters meet this controversial subject head on, also assessing where archaeological theory is now, and future directions. John Bintliff questions what theory is and argues that archaeologists should be freed from 'Ideopraxists', or those who preach that a single approach or model is right to the exclusion of all others. Marc Pluciennik again questions what we mean by archaeological theory and argues that the role of intellectual fashion is underestimated. He predicts pressure from outside archaeology to redirect our dominant theories towards genetic and human impact theory. Kristian Kristiansen argues that theory cannot die, but it can change direction and sees signs of a retreat from the present postmodern and postprocessual cycle towards a more science based, rationalistic cycle of revived modernity. To Mark Pearce the most striking thing about the present state of archaeological theory is that there is no emerging paradigm to be discerned; he proposes that Theory is not dead, but has instead become more eclectic and nuanced. Two papers offer a different perspective from other areas of the world; Alexander Gramsch examines the issue from the German tradition and shows that in Central and Eastern Europe not only has Anglo-American Theory had limited impact, but current discussions on the future of method and theory offer a broader view of the discipline in which older traditions are seen to form the foundation. Kent Flannery and Joyce Marcus demonstrate that American archaeologists do not foresee the death of a genuinely archaeological theory (which they believe has never existed) but fear the real catastrophe would be the death of anthropological theory, because some anthropology today has become decidedly antiscientific, rejecting not only the controlled comparison and contrast of cultures, but also the use of generalization, both of which are crucial to theories and models and without which the longue durée will always be invisible.
Unique examples of Paleolithic art and an extremely rich collection of stone and bone implements make the site of Avdeevo one of the most interesting and important of the Upper Paleolithic on the Russian plain. These assemblages point to clear connections with sites such as Willendorf and Dolni Vestonice in central Europe as well as with the similar Russian site at Kostenki. The worked bone and art objects include bone awls and decorated points, burnishers, diadems, trinkets and beads. There are fragments of bone with engraved ornament; there are utilitarian objects with anthropomorphic and zoomorphic decoration; there are figurines of mammoth and horse; and there are fourteen female figures with distinctive artistic characteristics that distinguish them from similar material from other sites. The descriptions and illustrations of all these objects have been prepared by Mariana Gvozdover who began excavating at Avdeevo in 1972; they are here edited for publication by Paul Bahn.
