The Dance of Light and Shadow is an intense work of literary fiction about Xander Holiday, a writer living alone in a small apartment. His obsession with his upstairs neighbor is irresistible, and the novel he's writing is full of engaging twists and turns. While reading, you'll continually be pulled from Xander's imagination and romantic obsessions back into the action of the novel he is writing, leaving you to ponder what is real and what is fiction-what is light and what is shadow? David W. Stoner's first novel, The Dance of Light and Shadow is a moving look at one man's infatuation as well as the intricacies of his inner muse.
Discover simple and effective techniques that will infuse your watercolor paintings with stunning highlights and vivid depths, all demonstrated in clear step-by-step exercises. Inside you will learn how to: Create paintings brimming with color using transparent layering techniques Innovate with masking materials to create crisp edges and eye-catching light effects Use tone and contrast to bring your paintings to life Packed with practical information for using color and light, Paint Watercolors that Dance with Light will transform your art.
Lighting Dance pioneers the discussion of the ability of lighting design to foreground shadow in dance performances. Through a series of experiments integrating light, shadow, and improvised dance movement, it highlights and analyses what it advances as an innovative expression of shadow in dance as an alternative to more conventional approaches to lighting design. Different art forms, such as painting, film, and dance pieces from Loie Fuller, the Russell Maliphant Dance Company, Elevenplay, Pilobolus, and the Tao Dance Theater served to inspire and contextualise the study. From lighting to psychology, from reviews to academic books, shadows are examined as a symbolic and manipulative entity. The book also presents the dance solo Sombreiro, which was created to echo the experiments with light, shadow, and movement aligned to an interpretation of cultural shadow (Jung 1954, in Samuels, Shorter, and Plaut 1986; Casement 2006; Ramos 2004; Stein 2004; and others). The historical development of lighting within dance practices is also outlined, providing a valuable resource for lighting designers, dance practitioners, and theatre goers interested in the visuality of dance performances.
Enter Atolas, a world where swords and daggers both extend life and end it, where magic is feared by all but a few, and where feuds and friendships influence kingdoms and courtships. Henry and Isabelle have secretly sworn to marry despite his lowly station as a carpenter, but his devotion to her drives him to commit an unthinkable act that may cost both of them their lives. At the same time, a secret, dark prophecy has set in motion events that will affect not only them, but the thrones of rulers throughout all of Atolas, threatening to eclipse the world in shadow. But all is not lost while hope remains in the guise of an unlikely hero and the strength of friendship.
Playing with light is a magical experience for children and adults alike. Making the most of Light and Mirrors has been specially written to celebrate the wonderful ideas and theories that babies and young children demonstrate on a daily basis, as they play and explore the world around them. Each of the scenarios in this book, accompanied by stunning full colour photographs, shows how the use of reclaimed and natural materials can support play and active learning, exploration and investigation and creativity and critical thinking across the six areas of learning of the Early Years Foundation Stage. Through easily understood text and colour photographs, this book provides both photographic and written support for early years professionals wishing to develop their understanding of: - the role of the creative practitioner - a creative learning environment - child-initiated and adult- led experiences - the value of open- ended resources - the use of photographs in observational assessment
25th ANNIVERSARY EDITION • From the bestselling author of The Passenger and the Pulitzer Prize–winning novel The Road: an epic novel of the violence and depravity that attended America's westward expansion, brilliantly subverting the conventions of the Western novel and the mythology of the Wild West. Based on historical events that took place on the Texas-Mexico border in the 1850s, Blood Meridian traces the fortunes of the Kid, a fourteen-year-old Tennesseean who stumbles into the nightmarish world where Indians are being murdered and the market for their scalps is thriving. Look for Cormac McCarthy's latest bestselling novels, The Passenger and Stella Maris.
Zarek's Point of View: Dark-Hunter: A soulless guardian who stands between mankind and those who would see mankind destroyed. Yeah, right. The only part of that Code of Honor I got was eternity and solitude. Insanity: A condition many say I suffer from after being alone for so long. But I don't suffer from my insanity-I enjoy every minute of it. Trust: I can't trust anyone...not even myself. The only thing I trust in is my ability to do the wrong thing in any situation and to hurt anyone who gets in my way. Truth: I endured a lifetime as a Roman slave, and 900 years as an exiled Dark-Hunter. Now I'm tired of enduring. I want the truth about what happened the night I was exiled-I have nothing to lose and everything to gain. Astrid (Greek, meaning star): An exceptional woman who can see straight to the truth. Brave and strong, she is a point of light in the darkness. She touches me and I tremble. She smiles and my cold heart shatters. Zarek: They say even the most damned man can be forgiven. I never believed that until the night Astrid opened her door to me and made this feral beast want to be human again. Made me want to love and be loved. But how can an ex-slave whose soul is owned by a Greek goddess ever dream of touching, let alone holding, a fiery star?
What's in a shadow? Menace, seduction, or salvation? Immaterial but profound, shadows lurk everywhere in literature and the visual arts, signifying everything from the treachery of appearances to the unfathomable power of God. From Plato to Picasso, from Rembrandt to Welles and Warhol, from Lord of the Rings to the latest video game, shadows act as central players in the drama of Western culture. Yet because they work silently, artistic shadows often slip unnoticed past audiences and critics. Conceived as an accessible introduction to this elusive phenomenon, Grasping Shadows is the first book that offers a general theory of how all shadows function in texts and visual media. Arguing that shadow images take shape within a common cultural field where visual and verbal meanings overlap, William Sharpe ranges widely among classic and modern works, revealing the key motifs that link apparently disparate works such as those by Fra Angelico and James Joyce, Clementina Hawarden and Kara Walker, Charles Dickens and Kumi Yamashita. Showing how real-world shadows have shaped the meanings of shadow imagery, Grasping Shadows guides the reader through the techniques used by writers and artists to represent shadows from the Renaissance onward. The last chapter traces how shadows impact the art of the modern city, from Renoir and Zola to film noir and projection systems that capture the shadows of passers-by on streets around the globe. Extending his analysis to contemporary street art, popular songs, billboards, and shadow-theatre, Sharpe demonstrates a practical way to grasp the "dark side" that looms all around us.
