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Tolerance And Coexistence In Early Modern Spain
There has been a widely-held consensus among historians that the Moriscos of Spain made little or no attempt to assimilate to the majority Christian culture around them, and that this apparent obduracy made their expulsion between 1609 and 1614 both necessary and inevitable. This book challenges that view. Assimilation, coexistence, and tolerance between Old and New Christians in early modern Spain were not a fiction or a fantasy, but could be a reality, made possible by the thousands of ordinary individuals who did not subscribe to the negative vision of the Moriscos put around by the propagandists of the government, and who had lived in peace and harmony side by side for generations. For some, this may be a new and surprising vision of early modern Spain, which for too long, and thanks in large part to the Black Legend, has been characterized as a land of intolerance and fanaticism. This book will help to rebalance the picture and show sixteenth- and seventeenth-century Spain in a new, infinitely richer and more rewarding light. Trevor J. Dadson FBA is Professor of Hispanic Studies at Queen Mary, University of London, and is currently President of the Association of Hispanists of Great Britain & Ireland. In 2008 he was elected a Fellow of the British Academy.
Painting On China
From the INTRODUCTION:
THIS little work is not only intended as a guide to the particular art of china painting, but is especially designed to meet the needs of those who may be unaccustomed to the use of either brush or pencil.
With this end in view, the strict attention which will be given to practical detail, and the careful instruction in the rudiments of the art may prove somewhat fatiguing to those who, already experienced in oil and water colors, desire only such instruction as will aid them in the use of mineral colors upon the glazed surface of hard porcelain.
Let these amateurs in china painting remember that the most skillful artists have failed in attempts at china decoration through ignorance of a few secrets pertaining to this art alone, which, when learned, seem simple enough, but by their intelligent use enable the artist to produce results that add materially to our home decoration.
First attempts are always more or less discouraging. Difficulties, unknown in oil painting, are here encountered at every step; but these difficulties, insurmountable by the uninitiated, are, after a little careful study, easily overcome.
For the encouragement of beginners it may also be said that if obstacles are encountered in the first "manipulation" of the vitrifiable colors used in china-painting, so also are more agreeable results possible from the hands of the amateur than in any other branch of art; and articles in china, decorated by purely mechanical means, sometimes compare favorably with the valuable productions of accomplished artists.
Success in this art depends greatly upon the patience and perseverance of the decorator, and a proper selection of colors, brushes, etc. It may also be added that perfect order and cleanliness are not only desirable but positively necessary in order to obtain satisfactory results.
It would be hard to find an accomplishment more refined or elegant, or that will yield a better return for the time, labor, and thought expended on it, than china painting.
Many beautiful and original modes of decoration, and, it may be added, many novel and interesting artistic ideas, which would otherwise lie dormant, may here find expression as the tyro in this branch of art becomes more proficient and better able to finish and perfect the work. Many persons in the great cities earn a comfortable livelihood by practicing this branch of art, and, in proportion as they excel, find both profit and delight in its pursuit.
A Theory Of The Tache In Nineteenth-century Painting
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cezanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist's body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a 'crossing' of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition.
The 'sign-crossing' theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.
International Legal Positivism In A Post-modern World
International Legal Positivism in a Post-Modern World provides fresh perspectives on one of the most important and most controversial families of theoretical approaches to the study and practice of international law. The contributors include leading experts on international legal theory who analyse and criticise positivism as a conceptual framework for international law, explore its relationships with other approaches and apply it to current problems of international law. Is legal positivism relevant to the theory and practice of international law today? Have other answers to the problems of international law and the critique of positivism undermined the positivist project and its narratives? Do modern forms of positivism, inspired largely by the theoretically sophisticated jurisprudential concepts associated with Hans Kelsen and H. L. A. Hart, remain of any relevance for the international lawyer in this 'post-modern' age? The authors provide a wide variety of views and a stimulating debate about this family of approaches.
The Porcelain Painter's Son
The contents of this artistic little book proves that the pen that wrote The Grounds of a Homeopath's Faith, the most powerful argument in favor of Homoeopathy ever published, has not lost its old-time power or charm. The Porcelain Painter's Son is a Fantasy, and, something more, much more - it is the spirit of Homoeopathy and the great founder, and every reader will read and re-read it and arise with a truer and higher conception of what Homoeopathy really is.
-The Homeopathic Recorder, Vol. 13
This is a companion volume to "The Grounds of a Homeopath's Faith," and an appendix with the title of "Under which King Bezonian." The author styles it a fantasy on homeopathy and Hahnemann, yet deep down will be found a golden vein of pure science, that will give the reader a new inspiration into the early life of the Sage of Coethen.
But, whether we agree with the author or not, the entire homeopathic profession the world over, will sincerely regret after reading this little book - especially "Under which King Bezonian," - that as yet only these two small volumes have appeared from the most trenchant pen which our school has produced in this century. Oh! that we had a little more such inspiration and admonition as this on page 102:
"When the 'scientific' homeopath-that most perilous of wild fowl assails Hahnemann's teachings in the windy medical journal, or on the floor of the windier medical society, how many homeopathic students are qualified to judge the critic and the criticism? Indeed, I may ask, how many physicians? How many of either have ever read the Organon; how many have given it the serious and intelligent investigation that it both deserves and invites alike from friend and foe? If one is grossly ignorant of the Organon-that declaration of, exposition of, and defense of the principles and practice of homeopathy-by what shadow of right does such an one assume the title 'homeopathic' physician? Does a dabster in the practice, as an art, pretend to a knowledge of the principles, as a science? Has not Homeopathy too many of such pretenders-''doctors.' that cannot for the life of them deliver the goods they advertise? Can the truth, the absolute truth, the simple truth be presented, defended and triumphantly demonstrated by such advocates?"
We trust that every reader of the magazine will buy this book and keep it on the table in his reception room. It will do good.
-The Medical Advance, Vol. 36
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