The Paint Guide for Figures of World War Two
A beautifully assembled kit is always enhanced by the presence of a well-painted figurine. This statement has become a profession of faith for the author of this book, Joaquin Garcia Guazquez, one of the world's armored modeling elite; here he has chosen to give us the benefit of his experience painting figurines from WWII, the supreme period for military modeling. Very instructively, using a lot of photographs, and step by step he explains how to paint a successful figurine, from the choice of tools, from the work area to the preparation of the figurine, painting the flesh parts, the uniforms and the accessories, etc. This is required reading, intended to guide you and inspire you when painting figurines to go with your next armored vehicle oraction-packed scene.
The Churches and Ethnic Ideology in the Rwandan Crises 1900 1994
Tharcisse Gatwa A été écrit sous une forme ou une autre pendant la plus grande partie de sa vie. Vous pouvez trouver autant d'inspiration de The Churches and Ethnic Ideology in the Rwandan Crises 1900 1994 Aussi informatif et amusant. Cliquez sur le bouton TÉLÉCHARGER ou Lire en ligne pour obtenir gratuitement le livre de titre $ gratuitement.
Leaves from Paradise
A pair of leaves recently acquired by Houghton Library presents an opportunity to examine the illuminated sequence composed in honor of John the Evangelist. The richly decorated fragments promise to transform our understanding of the special place of Christ s beloved disciple in 14th-century art, liturgy, theology, and mysticism.
Blood Relations Christian and Jew in the Merchant of Venice Large Print 16pt
In Blood Relations' Janet Adelman confronts her resistance to The Merchant of Venice as both a critic and a Jew. With her distinctive psychological acumen' she argues that Shakespeares play frames the uneasy relationship between Christian and Jew specifically in familial terms in order to recapitulate the vexed familial relationship between Christianity and Judaism. Adelman locates the promise - threat - of Jewish conversion as a particular site of tension in the play. Drawing on a variety of cultural materials' she demonstrates that' despite the triumph of its Christians' The Merchant of Venice reflects Christian anxiety and guilt about its simultaneous dependence on and disavowal of Judaism. In this startling psycho - theological analysis' both the insistence that Shylocks daughter Jessica remain racially bound to her father after her conversion and the depiction of Shylock as a bloody - minded monster are understood as antidotes to Christian uneasiness about a Judaism it can neither own nor disown. In taking seriously the religious discourse of The Merchant of Venice' Adelman offers in Blood Relations an indispensable book on the play and on the fascinating question of Jews and Judaism in Renaissance England and beyond.
This wide-ranging narrative explores the role that Jews, Conversos, and Crypto-Jews played in settling and building the Atlantic world between 1500 and 1800. Through the interwoven themes of markets, politics, religion, culture, and identity, the essays here demonstrate that the world of Atlantic Jewry, most often typified by Port Jews involved in mercantile pursuits, was more complex than commonly depicted. The first section discusses the diaspora in relation to maritime systems, commerce, and culture on the Atlantic and includes an overview of Jewish history on both sides of the ocean. The second section provides an in-depth look at Jewish mercantilism, from settlements in Dutch America to involvement in building British, Portuguese, and other trading cultures to the dispersal of Sephardic merchants. In the third section, the chapter authors assess the roles of identity and religion in settling the Atlantic, looking closely at religious conversion; slavery; relationships among Jews, Christians, and Muslims; and the legacy of the lost tribes of Israel. A concluding commentary elucidates the fluidity of identity and boundaries in the formation of the Atlantic world. Featuring chapters by Jonathan Israel, Natalie Zemon Davis, Aviva Ben-Ur, Holly Snyder, and other prominent Jewish historians, this collection opens new avenues of inquiry into the Jewish diaspora and integrates Jewish trade and settlements into the broader narrative of Atlantic exploration.
Female Monasticism in Early Modern Europe
This volume of twelve interdisciplinary essays addresses the multifaceted nature of female religious identity in early modern Europe. By dismantling the boundaries between the academic disciplines of history, art history, musicology and literary studies it offers new cross-cultural readings essential to a more comprehensive understanding of the complexity of female spirituality in the sixteenth and seventeenth centuries.Consisting of four sections each dealing with different parts of Europe, and discussing issues of social and spiritual identity, such as the formation of community and memory, spiritual direction and secular patronage, this compelling collection offers a significant addition to a thriving field of study.
Atlas of Medieval Europe
Covering the period from the fall of the Roman Empire through to the beginnings of the Renaissance, this is an indispensable volume which brings the complex and colourful history of the Middle Ages to life. Key features: * geographical coverage extends to the broadest definition of Europe from the Atlantic coast to the Russian steppes * each map approaches a separate issue or series of events in Medieval history, whilst a commentary locates it in its broader context * as a body, the maps provide a vivid representation of the development of nations, peoples and social structures. With over 140 maps, expert commentaries and an extensive bibliography, this is the essential reference for those who are striving to understand the fundamental issues of this period.
Becoming Edvard Munch
Two potent myths have traditionally defined our understanding of the artist Edvard Munch (1862–1944): he was mentally unstable, as his iconic work The Scream (1893) suggests, and he was radically independent, following his own singular vision. Becoming Edvard Munch: Influence, Anxiety, and Myth persuasively challenges these entrenched perceptions. In this book, Jay A. Clarke demonstrates that Munch was thoroughly in control of his artistic identity, a savvy businessman skilled in responding to the market and shaping popular opinion. Moreover, the author shows that Munch was keenly aware of the art world of his day, adopting motifs, styles, and techniques from a wide variety of sources, including many Scandinavian artists. By presenting Munch’s paintings, prints, and drawings in relation to those of European contemporaries, including Harriet Backer, James Ensor, Vincent van Gogh, Max Klinger, Christian Krohg, and Claude Monet, Clarke reveals often surprising connections and influences. This interpretive approach, grounded in Munch’s diaries and letters, period criticism, and the artworks themselves, reintroduces Munch as an artist who cultivated myths both visual and personal. Becoming Edvard Munch features beautiful color reproductions of approximately 150 works, including 75 paintings and 75 works on paper by Munch and his peers.
The Spectacle of Suffering
Present-day unease about the treatment of lawbreakers has deep historical roots. Pieter Spierenburg traces the long period of evolution that gave rise to the modern debate about punishment, and relates it to the development of Western European society. He argues that two elements, the public character of punishment and its infliction of physical suffering, were originally at the heart of the penal system. From the sixteenth century onwards, however, these elements began to decline. Spierenburg explains that this development reflected a wider change of attitudes which, in turn, was related to changes in society at large. The book deals successively with each of the parties involved in public executions: the hangman, the magistrates, the crowd, and the victim. Among the themes dicussed are the infamous reputation of the excutioner, the functions of ceremonial, and the social background of those about to suffer.