Can you spot the flowers and plants in this sea of patterns? The challenge in completing this book of secret garden is to color all the spaces, even the tiniest crevices. When you color the images here, you will feel relaxed and at peace. Coloring has that relaxing effect because you don't need to think, you just have to act and be artistic. Secure a copy now!
Cultural History of Gardens presents an authoritative survey from ancient times to the present. This set of six volumes covers over 2500 years of gardens as physical, social and artistic spaces.
1. A Cultural History of Gardens in Antiquity
This structure means readers can either have a broad overview of a period by reading a volume or follow a theme through history by reading the relevant chapter in each volume.
Superbly illustrated, the full six volume set combines to present the most authoritative and comprehensive survey available on gardens through history.
This Ingardenia volume is the second in the Analecta Husserliana series that is entirely devoted to the phenomenology of Roman Ingarden. The first was volume IV (1976). Twenty years after Ingarden's death, this volume demonstrates that the Polish phenomenologist's contribution to philosophy and literary scholarship has received world-wide attention. His ideas have proven especially fruitful for the definition of the structure of the literary work of art and the subsequent recognition of its characteristic features. Of all the early phenomenologists who were students of Husserl, it is Ingarden whose work has faithfully pursued the original tenet that language "holds" the essence of the life-world "in readiness" (bereit halten). To investigate this premise with the rigor of a science, as Husserl had envisioned for phenomenology, was Ingarden's life work. That Ingarden did not quite reach his ambitious goal does not diminish his unquestionable achievement. The understanding of the nature of the literary work of art has increased enormously because of his analyses and aesthetics. The Polish phenomenologist investigated above all the work of art as a structure of necessary components which define and determine its nature. That the artistic ingredient was shortchanged under those conditions should not be surprising, particu- larly since Ingarden usually kept a purist's philosophical distance from the concrete detail of the material under consideration. He was not concerned with individual works of art but with the principle that was shared by all of them as the defining feature of their being.
Artistic Judgement sketches a framework for an account of art suitable to philosophical aesthetics. It stresses differences between artworks and other things; and locates the understanding of artworks both in a narrative of the history of art and in the institutional practices of the art world. Hence its distinctiveness lies in its strong account of the difference between, on the one hand, the judgement and appreciation of art and, on the other, the judgement and appreciation of all the other things in which we take an aesthetic interest. For only by acknowledging this contrast can one do justice to the importance regularly ascribed to art. The contrast is explained by appealing to an occasion-sensitive account of understanding, drawn from Charles Travis directly, but with Gordon Baker (and Wittgenstein) as also proximate rather than remote. On this basis, it argues, first, that we need to offer accounts of key topics only as far as questions might be raised in respect of them (hence, not exceptionlessly); and, second, that we should therefore defend the view that the meaning of artworks can be changed by later events (the historical character of art, or forward retroactivism) and that art has an institutional character, understood broadly on the lines of Terry Diffey's Republic of Art. Besides providing a general framework, Artistic Judgement also explores the applications of the ideas to specific artworks or classes of them.
The university admissions letter slips out of Raina's trembling hands. She sits down slowly on the edge of her unmade bed. For several minutes, Raina stares at the fancy letter laying on the floor.
She has been accepted. Raina blinks in disbelief at the enormity of this quiet news. She has been accepted to the most prestigious university in the country. She has been accepted with a full scholarship, including books and dormitory. She has been accepted in spite of her immature fears and troubling doubts.
This means that in three months, Raina will be leaving home. Having no siblings, Raina will say farewell to her long-time best friends, Kim and Tony. She will triumphantly hang up her greasy work apron at the local fast-food joint. And, of course, Raina will be leaving her single mother behind.
Raina is overjoyed and torn by the thought of leaving her mother. Her mother, the tormenter. Her mother who never smiles. Who never caresses her daughter's face. Who never tells her daughter she loves her. Or that she's proud of her. Or that she even cares.
As expected, Raina's mother, Ms. Calyx, learns of the news and refuses to let Raina go. Mother and daughter clash horribly, inflicting upon each other painful assaults of anger and isolation. Eventually, the ache of familial love and the timid first steps toward adulthood encourage Raina to swallow her fears and tenderly engage her mother.
Ms. Calyx readily accepts Raina's olive branch offering. Mother reveals a long held secret that was torturing her for many years like an insatiable invisible villain. Gradually, mother and daughter see each other in a new light of forgiveness, love, and deeper understanding.
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