Grey portrays the body as translucent, revealing complex anatomical systems and interwoven with glowing subtle energies visible to clairvoyants. After painting the Sacred Mirrors, Grey applied this multidimensional perspective to painted visions of such archetypal human experiences as praying, meditation, dying, kissing, copulating, pregnancy, birth and nursing. Begun in 1979, the series took a period of ten years to complete. A number of those canvases have been inspired by psychedelic and contemplative mystical visions. Grey’s unique series of 21 life-sized paintings, the Sacred Mirrors, which has been translated into five languages, take the viewer on a journey through the physical and metaphysical anatomy of the self by examining, in detail, the body, mind, and spirit of an individual. He spent several years at Harvard Medical School studying human anatomy. Alex Grey was fascinated since adolescence with the themes of mortality and polarity, Alex Grey saw in the human anatomy a microcosm of the many systems and levels of order in nature.
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QI believes that the creator should be considered anonymous. This adage is difficult to trace because it is a member of a large and ever evolving family of sayings. Einstein died in 1955, and he received credit for the remark many years afterward in 2012. It is not listed in the comprehensive reference “The Ultimate Quotable Einstein” from Princeton University Press. Quote Investigator: There is no substantive evidence that Albert Einstein wrote or spoke this statement. This saying has also been credited to the Olympic-medal-winning athlete Florence Griffith Joyner and the well-known inventor Thomas Edison. Albert Einstein? Florence Griffith Joyner? Thomas Edison? Louise Chandler Moulton? Mike Ditka? Elmer Burritt Bryan? Anonymous?ĭear Quote Investigator: The following motivational remark has been attributed to the famous scientist Albert Einstein: He constructed his play to illustrate the greatest possible development of the character traits suggested for Tell by the chronicles. Keenly interested in the problematic interplay of history and legend, Schiller turned it to be dramatic advantage. In the midst of political turmoil Wilhelm Tell is the nonpolitical man of action. Respected for his courage and skill with a bow, for his peaceable nature and his integrity, Schiller’s archer-while always ready to aid his fellows-habitually seeks solitude. Since Tell’s existence has never been proven, Schiller, a historian by profession, felt he had to devise a figure who would bring the uncertainties and contradictions of the various Swiss chronicles into focus. Schiller based his play on chronicles of the Swiss liberation movement, in which Wilhelm Tell played a major role. Mainland brings out the essential tragi-comic nature of Wilhelm Tell but also emphasizes its impressive formal unity. This new English translation by William F. Since then the work as become immensely popular. In the midst of Great Power politics a play which drew substance from one of the fourteenth-century liberation movements proved both attractive and inflammatory. When Schiller completed Wilhelm Tell as a "New Year’s Gift for 1805" he foretold that it would cause a stir. This is a supremely hopeful book, one that feels important because it shows that happiness, while not always easy, is still a subject worthy of art. These stories made me believe again that it was possible to write honestly, rigorously, morally, about the material reality of characters to write toward human warmth as a reaffirmation of the bonds that tie us together. Even at their loneliest, these characters are a part of something, whether a relationship, a friendship, a family, a workplace, a society, a world. As they are spring flowers, they indicate new life and rebirthexactly what is happening to Mikage. The spiky fictions of Anglophone literature of the past decade - staked on the idea of passivity as agency within a violent, dystopian, capitalist hellscape - are cutting and observant but sometimes they leave the reader wondering: When can books be warm again? When can we have feelings again? Yoshimoto’s protagonists go out and act, they feel, they express, even if only to themselves. Kitchen study guide contains a biography of Banana Yoshimoto, literature essays, quiz questions, major themes, characters, and a full summary and analysis. They also resemble, in their awkward but striking agency, the characters of Alice Munro’s best short stories about young womanhood, by turns comedic, sad and aching for connection. Yoshimoto’s lonely women have more in common with the bachelor characters of, say, Bernard Malamud or Leonard Michaels or Haruki Murakami. Her acclaimed stories, novels and essays have. In Mama! - one of the most brilliant stories I’ve ever read - Mimi, a publishing company employee, is poisoned by a disgruntled co-worker. She is the author of Kitchen, N.P., Lizard, Amrita, Asleep and Goodbye Tsugumi. He emphasises the power of the mind in beauty, and that is something that builds on Locke’s work on the complexity and productivity of the mind. Cooper makes claims which are unLockean, like suggesting innateness of our sense of beauty, but he also suggests that we think of that in terms of instinct. In addition to these biographical links, Shaftesbury’s philosophy developed from the empiricism of Locke. Shaftesbury’s grandfather, also named Anthony Ashley Cooper, was Locke’s patron and the philosophical Shaftesbury was Locke’s friend. Shaftesbury’s first book, Inquiry Concerning Merit (in Shaftesbury 1999), was published in an unauthorised form in 1699, just nine years after John Locke published An Essay Concerning Human Understanding (Locke 1975). Still, in general it is the philosophy of Lord Shaftesbury (Anthony Ashley Cooper) written in the last decade of the seventeenth century and the first decade of the eighteenth century, which is usually taken as the historical starting point for a form of aesthetic inquiry, which leads into Kant’s aesthetics, and the discipline of philosophical aesthetics as it is now known. (From work in progress on the philosophy of literary judgement)Įstablishing a starting point for the aesthetic tradition of the eighteenth-century is inevitably difficult, as every starting point has a precedent. the rest of the world simply fell away, and she couldn't help but wonder. Her perfect husband wouldn't be so moody and ill-mannered, and while Phillip was certainly handsome, he was a large brute of a man, rough and rugged, and totally unlike the London gentlemen vying for her hand. and before she knew it, she was in a hired carriage in the middle of the night, on her way to meet the man she hoped might be her perfect match. Did he think she was mad? Eloise Bridgerton couldn't marry a man she had never met! But then she started thinking. The beautiful woman on his doorstep was anything but quiet, and when she stopped talking long enough to close her mouth, all he wanted to do was kiss her. "Sir Phillip knew that Eloise Bridgerton was a spinster, and so he'd proposed, figuring that she'd be homely and unassuming, and more than a little desperate for an offer of marriage. This further raises the level of intrigue. We soon learn that Mari didn’t miss the last train on accident, but rather is staying out all night on purpose to be out of the house. She isn’t typical of the disheveled, boozy, or garish crowd out “after dark.” In a post-witching hour world of drunken salaryman, micro-miniskirted hostesses, tattooed yakuza gangsters, and nightlife-savvy travelers, the bookish young woman stands out. As she sits in a 24-hour Denny’s reading, Mari immediately triggers curiosity. The protagonist is a young college student named Mari. Murakami satisfies a form of voyeuristic impulse by giving us a peek into the lives of a few of the people out and about while the masses are home slumbering, or-at least–whiling away insomnia-ridden hours in the privacy of their own homes. This novel takes place in Tokyo during the wee hours of a single night. Smith has crafted an engrossing and enchanting tale of The Vine Witch. With glorious attention to detail and sumptuous description, Luanne G. When tragedy strikes the Chanceaux Vally and the authorities come looking for Elena, far more will be at stake than the reputation and legacy of Chateau Renard. And, with the help of his wife-a beautiful and terrifying bierhexe named Gerda-he just might be able to do it. His competition, Bastien du Monde (who is incidentally Elena’s ex-fiance) is driven to acquire Chateau Renard for himself. Jean-Paul Martel is a learned man, a former lawyer, who feels sense and reason and science should be enough to create bountiful yields and perfect wine, but so far he has failed. She also finds Chateau Renard has a new owner, one who doesn’t believe in witchcraft. Smith’s delightful first novel The Vine Witch.Īs Elena escapes the curse placed on her seven years before, she painstakingly makes her way back to her home where she finds her mentor and stand-in grandmother waiting for her. Her return to Chateau Renard and the vineyard to which she is inextricably bound opens Luanne G. Elena Boureanu, the vine witch once responsible for a superior wine from Chateau Renard in the Chanceaux Valley, has been missing for seven years. Robert Mallory is bright, handsome, charismatic, and shielding a secret from Bret and his friends, even as he becomes a part of their tightly knit circle. 17-year-old Bret is a senior at the exclusive Buckley prep school when a new student arrives with a mysterious past. His first novel in 13 years, The Shards is Bret Easton Ellis at his inimitable best. A sensational new novel from the bestselling author of Less Than Zero and American Psycho that tracks a group of privileged Los Angeles high school friends as a serial killer strikes across the city. In 1620 a Spanish galleon was sunk offshore.Ī much stranger misfortune befell in 1631 when pirates from Algiers and armed troops of the Turkish Ottoman Empire stormed ashore at the little harbour village of Baltimore. Around 1600 a defeat was inflicted on these local warlords when “several ships of the 0’Driscoll fleet sank in an affray with a fleet from Waterford” within sight of the 0’Driscoll stronghold towering above the village. Situated in the barony of Carberry, in South Munster, the village grew up round a sixteenth century Castle of 0’Driscoll and, after his ruin, the place was colonized by the English. In McCarthy’s, one of its quayside pubs, a wall chart testifies to the marine mayhem that took place over the centuries in nearby Roaringwater Bay. Its location is of great interest to the artist, antiquary and naturalist. The harbour side village of Baltimore in the south-west of Ireland is a favourite port of call for fishermen and yachtsmen because of its sheltered position behind Sherkin Island. Turkish Ottoman Empire, Ireland, Algiers, Barbary, slavery |