THE FLORA & FAUNA OF TRANSGRESSIVE, BALLS-TO-THE-WALL TABLEAUS is author Jeffrey Stoker’s fourth book. Personal and filled to the brim with pathos, it comprises two novellas, both of them struggling-artist-themed, and both of them wholly unpredictable. The first novella in the rotation, “The Dichotomous Epiphany,” falls squarely under the Psychological Horror subgenre. Set in the early 1990s — Stoker wrote the novella between the years 1995 and 2000; however, due to the S&M overtones inherent in its pages, he sheepishly held off publishing it until 2024 — it centers on Arlene Phillips, an ambitious, unconventional teenager living in a small, hopelessly conventional Utah town. For years, Arlene has dreamed of nothing more than becoming a world-renowned artist. Unfortunately, most of the drawings and paintings she’s produced thus far in her life have failed to meet her expectations. Now, as the sun begins to set on her high school career, the teen, desperate to prepare herself for college, devises a plan to enhance her visual-composition skills. The rub is that carrying out this plan will come at an incredibly high price. Moreover, there’s no guarantee that the plan will even work. The second novella in the book, a comedy-drama titled “Port Wine Stain, Animated,” represents Stoker at his sardonic best. Here we follow the exploits of Thad Wakefield, an aspiring writer who’s on the autism spectrum. Despite the compulsions, tics, and fears that govern Thad’s day-to-day routine, he’s generally a productive, optimistic individual. And why not? He has a beautiful wife who’s supportive to a fault, a pet armadillo that never ceases to amuse him, and a compassionate therapist who’s dedicated to solving as many of his psychological hang-ups as possible. In short, life is good. Until it isn’t. One day, for reasons far too complicated to go into here, Thad hits a stumbling block in the editing phase of his debut novel. How he chooses to meet this challenge, and the emotionally-draining path this choice ultimately leads him down, is something that even the sharpest of readers won’t see coming.

This authoritative catalogue of the Corcoran Gallery of Art's renowned collection of pre-1945 American paintings will greatly enhance scholarly and public understanding of one of the finest and most important collections of historic American art in the world. Composed of more than 600 objects dating from 1740 to 1945.

Drawing Futures brings together international designers and artists for speculations in contemporary drawing for art and architecture.Despite numerous developments in technological manufacture and computational design that provide new grounds for designers, the act of drawing still plays a central role as a vehicle for speculation. There is a rich and long history of drawing tied to innovations in technology as well as to revolutions in our philosophical understanding of the world. In reflection of a society now underpinned by computational networks and interfaces allowing hitherto unprecedented views of the world, the changing status of the drawing and its representation as a political act demands a platform for reflection and innovation. Drawing Futures will present a compendium of projects, writings and interviews that critically reassess the act of drawing and where its future may lie.Drawing Futures focuses on the discussion of how the field of drawing may expand synchronously alongside technological and computational developments. The book coincides with an international conference of the same name, taking place at The Bartlett School of Architecture, UCL, in November 2016. Bringing together practitioners from many creative fields, the book discusses how drawing is changing in relation to new technologies for the production and dissemination of ideas.

This insightful volumes the use of imitation and the modern cult of originality through a consideration of the disparate fates of two Venetian painters - the canonised master Titian and his artistic heir, the little-known Padovanino.

Claude Wheeler is a young man who was born after the American frontier has vanished. The son of a successful farmer and an intensely pious mother, Wheeler is guaranteed a comfortable livelihood. Nevertheless, Wheeler views himself as a victim of his father's success and his own inexplicable malaise.Thus, devoid of parental and spousal love, Wheeler finds a new purpose to his life in France, a faraway country that only existed for him in maps before the First World War. Will Wheeler ever succeed in his new goal? The novel is inspired from real-life events and also won the Pulitzer Prize in 1923.

"Lurie takes particular interest in the influence of cinema on Faulkner's fiction and the visual strategies he both deployed and critiqued. These include the suggestion of cinematic viewing on the part of readers and of characters in each of the novels; the collective and individual acts of voyeurism in Sanctuary and Light in August; the exposing in Absalom! Absalom! and Light in August of stereotypical and cinematic patterns of thought about history and race; and the evocation of popular forms like melodrama and the movie screen in If I forget thee, Jerusalem. Offering innovative readings of these canonical works, this study sheds new light on Faulkner's uniquely American modernism."--BOOK JACKET.

"The World Through Picture Books (WTPB) is a programme of the IFLA Libraries for Children and Young Adults Section in collaboration with IBBY (International Board on Books for Young People) Children's Librarians all over the world understand how important picture books in both traditional and digital formats are for children, for their development, cultural identity and as a springboard into learning to read for themselves. The idea behind the World Through Picture Books was to create a selection of picture books from around the world that have been recommended by librarians, as a way of celebrating and promoting the languages, cultures and quality of children's book publishing globally. The 3rd edition highlights 530 picture books, from 57 countries and featuring 37 languages. It is fully digital and the catalogue as well as a poster and bookmark can be downloaded free of charge." --

Discusses how European scientists from the High Middle Ages through the Enlightenment used wonders, monsters, curiosities, marvels, and other phenomena to envision the natural world.

Within two years of the success of his first play Die Räuber on the German stage in 1781, Schiller wrote a drama based on a rebellion in sixteenth century Italy, its title: The Conspiracy of Fiesco at Genoa. A Republican Tragedy. At the head of the conspiracy stood Gian Luigi de’ Fieschi (1524-1547), Schiller’s Count Fiesco, a clever, courageous and charismatic figure, an epicurean and unhesitant egoist, politically ambitious, but unsure of his aims and principles. He is one of Schiller’s mysterious, protean characters who secures both our admiration and disgust. With Fiesco as tragic hero Schiller examines the complex entanglement of morality and politics in his own times that was to preoccupy him throughout his career. The play was a moderate success when performed in Mannheim in 1784; it was more popular in Berlin where, during Schiller’s lifetime, it was performed many times in a version by Carl Plümicke, which however radically altered the play’s meaning. There have been some noteworthy productions on the German stage and television, even if it has remained somewhat in the shadow of Schiller’ other works. In the English-speaking world it is all but unknown and very seldom performed. This translation aims to remedy that oversight.