Create Better Compositions by Design The path to better painting begins with Mastering Composition. This effective guide blends clear, visual instruction with 5 step-by-step demonstrations to show you how to plan and paint your best work yet. Composition is the key, and here you'll learn to design paintings with new skill and confidence. It all begins with the armature or structure of the picture plane. Every great painting has one, and you'll see through several famous examples exactly how the Old Masters used armatures to create movement, narrative, harmony and fluidity. Based on these examples, you'll practice what you've learned following a series of hands-on demonstrations. Once you understand the basic principles of design, you'll be amazed at how quickly and effectively your compositions come together. Soon you will be painting more boldly and confidently than ever before with less reworking and overworking. Whether you're a beginner looking for basic instruction or a more advanced painter troubleshooting a specific problem, the proven methods in this book will work for you. Ideal for all mediums, Mastering Composition gives you the knowledge you need to create powerful paintings out of every subject.

Ian Roberts offers a stimulating introduction to our greatest gift as a species: our capacity for articulate language. We are mostly as blissfully unaware of the intricacies of the structure of language as fish are of the water they swim in. We live in a mental ocean of nouns, verbs, quantifiers, morphemes, vowels and other rich, strange and deeply fascinating linguistic objects. This book introduces the reader to this amazing world. Offering a thought-provoking and accessible introduction to the main discoveries and theories about language, the book is aimed at general readers and undergraduates who are curious about linguistics and language. Written in a lively and direct style, technical terms are carefully introduced and explained and the book includes a full glossary. The book covers all the central areas of linguistics, including phonetics, phonology, morphology, syntax, semantics and pragmatics, as well as historical linguistics, sociolinguistics and psycholinguistics.

"To those engaged in making art, an authentic voice is the most crucial yet most difficult ability to come by. Why does so much conspire to hide what is ultimately the closest, simplest thing of all? Creative Authenticity outlines 16 principles that will help you peel back the fears, misconceptions, "shoulds" and confusion around courageous creative expression. You'll discover: you are more than creative enough; talent has little to do with your success; the van Gogh syndrome is one of the most destructive myths of what it takes to creative; the dance of avoidance upon arriving in the studio is inevitable- learn to see through it and begin; the necessity of finding a truthful relationship with your work so it feeds you, not torments you."--Publisher description.

Covering classic films such as 'The Cabinet of Doctor Caligari' and 'Nosferatu' as well as under-appreciated examples such as 'Asphalt', this volume forms an essential introduction to one of cinema's most historically important movements.

An argument that, contrary to Chomsky, head-movement is part of the narrow syntax.

A self-portrait by one of Australia’s greatest artists, a man mistakenly portrayed as a hermit

The phenomenon of grammaticalization - the historical process whereby new grammatical material is created - has attracted a great deal of attention within linguistics. This is an attempt to provide a general account of this phenomenon in terms of a formal theory of syntax. Using Chomsky's Minimalist Program for linguistic theory, Roberts and Roussou show how this approach gives rise to a number of important conceptual and theoretical issues concerning the nature of functional categories and the form of parameters, as well as the relation of both of these to language change. Drawing on examples from a wide range of languages, they construct a general account of grammaticalization with implications for linguistic theory and language acquisition.

World-wide, over a billion adults are overweight and 300 million are officially 'obese', more than 3,000 people die every day on the world's roads and global warming and war threaten our survival as a species. The Energy Glut tells the story of energy and how our abuse of fossil fuel energy links all of these public issues as manifestations of the same fundamental planetary malaise. This exciting new book argues that the pulse of fossil fuel energy released from the ground after the discovery of oil not only started the process of catastrophic climate change, but also propelled the average human weight distribution upwards. The author presents a frightening vision of humans besieged by a food industry that uses sophisticated marketing techniques to sell mountains of energy-dense food to those who are 'functionally paralysed', with fewer opportunities to move our bodies than ever before. We see why the accumulation of body fat is a political, not a personal, problem. This insightful new work offers and appraises for the reader a set of personal and political de-carbonising strategies, but to 'tread more lightly on our world' we first need to make sense of the systemic processes, and The Energy Glut takes expert first steps in this direction.

This book combines several strands of my work, both individually and in collaboration with various people, over the last couple of years. To a very large extent, I have been inspired by the many talks, classes, appointments and other interactions that took place in the exciting intellectual environ ment that grew up among the linguists working in Geneva in the period 1989-90. It is impossible to mention by name everyone who influenced the devel opment of this material, but I'd particularly like to thank the students in my class 'linguistique diachronique' during that period, who had to suffer through preliminary versions of much of this book, and often seemed to understand what I was getting at better than I did. Luigi Rizzi did more than anyone else to create the unique atmosphere here in the last couple of years, and so he deserves our gratitude for that; he was also my collaborator on the synchronic work on French inversion that inspired much of this book; he also read the whole manuscript in draft form and gave detailed comments; he is also, as anyone working in current comparative syntax knows, a wellspring of knowledge, ideas and inspiration. Maria-Teresa Guasti also read the entire manuscript and gave me invaluable comments. Sten Vikner was a great help, for much more than just Danish data. Special thanks also to Adriana Belletti, Anna Cardinaletti, Liliane Haegeman and Cecilia Poletto.