Samuel van Hoogstraten is familiar to scholars of Dutch art as a talented pupil and early critic of Rembrandt, and as the author of a major Dutch painting treatise. In this book, Celeste Brusati looks at the art, writing, and career of this multifaceted artist. A rich appreciation of one of the most often cited but least understood figures in seventeenth-century Dutch art, this book will interest scholars and students of art history, social history, and visual culture.
Homer the Rhetorician is the first monograph study devoted to the monumental Commentary on the Iliad by Eustathios of Thessalonike, one of the most renowned orators and teachers of the Byzantine twelfth century. Homeric poetry was a fixture in the Byzantine educational curriculum and enjoyed special popularity under the Komnenian emperors. For Eustathios, Homer was the supreme paradigm of eloquence and wisdom. Writing for an audience of aspiring or practising prose writers, he explains in his commentary what it is that makes Homer's composition so successful in rhetorical terms. This study explores the exemplary qualities that Eustathios recognizes in the poet as author and the Iliad as rhetorical masterpiece. In this way, it advances our understanding of the rhetorical thought of a leading intellectual and the role of a cultural authority as respected as Homer in one of the most fertile periods in Byzantine literary history.
This title gathers together essays on deception, self-deception, and the intersections of the two phenomena, from the leading thinkers on the subject. It will be of interest to philosophers across the spectrum including those interested in philosophy of mind, philosophy of psychology, and metaphysics.
There is something beautiful in music, according to some scientists, "listening to music has some amazing benefits regardless of your age, health, physical or emotional state." Satan understands the benefits and power of music also. "I SOLD MY SOUL TO THE DEVIL," a phase expressed by various high-profile artist. DECEPTION investigates Satan's influence on the music and entertainment industry and some of the beliefs and practices used.
From the depths of the Milky Way, young Jack, born on the planet Waspyx, is caught by a "deception." A very real dream transports him to Earth in 2018, where the young man with a thousand ultra-terrestrial talents finds himself in the body of Jack Smiths, a likeable teenager from Utah. The young man mixes with the people of St. George and tries to fathom the secrets of that fascinating, unique population. In the Zion Canyon, the boy from Waspyx and his new friends find two precious stones that will accompany them on an adventure at the limits of reality. While trying to find the wealthy, mad scientist, Mr. Salicov, our adventurers find themselves prisoners in the other parallel universe of MU. Here, bewitched by the new world, the eleven explorers continue their journey through the untouched habitat of the immense Mount Oluk. Along steep paths, they will all fall prey to the evil of the Numstairus and the poisonous Dexuss, beings of low intellect who will show everyone the true aspect of the mystery. All of this will lead the group to rediscover their love of nature as their awareness is reawakened. Amid a thousand obstacles, our explorers will try to survive in the hope of finding the right way to return home...
This book, first published in 2000, is a full-length study of the representation of deceit and lies in classical Athens. Dr Hesk traces the ways in which Athenian drama, democratic oratory and elite prose-writing construct and theorize a relationship between dishonesty and civic identity. He focuses on the ideology of military trickery, notions of the 'noble lie' and the developing associations of rhetorical language with deceptive communication. Deception and Democracy in Classical Athens combines close analysis of Athenian texts with lively critiques of modern theorists and classical scholars. Athenian democratic culture was crucially informed by a nuanced, anxious and dynamic discourse on the problems and opportunities which deception presented for its citizenry. Mobilizing comparisons with twentieth-century democracies, the author argues that Athenian literature made deception a fundamental concern for democratic citizenship. This ancient discourse on lying highlights the dangers of modern resignation and postmodern complacency concerning the politics and morality of deception.
Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500-1700 examines the related themes of lovemaking and image-making in the visual arts of Europe, China, Japan, and Persia. The term ‘reflexive’ is here used to refer to images that invite reflection not only on their form, function, and meaning, but also on their genesis and mode of production. Early modern artists often fashioned reflexive images and effigies of this kind, that appraise love by exploring the lineaments of the pictorial or sculptural image, and complementarily, appraise the pictorial or sculptural image by exploring the nature of love. Hence the book’s epigraph—ut pictura amor—‘as is a picture, so is love’.
Focusing on three celebrated northern European still life painters?Jan Brueghel, Daniel Seghers, and Jan Davidsz. de Heem?this book examines the emergence of the first garland painting in 1607-1608, and its subsequent transformation into a widely collected type of devotional image, curiosity, and decorative form. The first sustained study of the garland paintings, the book uses contextual and formal analysis to achieve two goals. One, it demonstrates how and why the paintings flourished in a number of contexts, ranging from an ecclesiastical center in Milan, to a Jesuit chapter house and private collections in Antwerp, to the Habsburg court in Vienna. Two, the book shows that when viewed over the course of the century, the images produced by Brueghel, Seghers and de Heem share important similarities, including an interest in self-referentiality and the exploration of pictorial form and materials. Using a range of evidence (inventories, period response, the paintings themselves), Susan Merriam shows how the pictures reconfigured the terms in which the devotional image was understood, and asked the viewer to consider in new ways how pictures are made and experienced.
