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Clara Montague didn't want to go home to Connecticut for Christmas. Her mother Constance never seemed to like her-or her intuitive dreams about the people she loved. Clara tried to warn her mother that her father was about to have a heart attack, but Constance wouldn't listen-and her father died. Now living in Europe, Clara dreams her mother is in terrible danger, and can't ignore it. Shortly after she returns, her mother's therapist (and former lover) Hugh Woodward is murdered-and Constance is jailed for the crime. Since Constance won't talk to her about the case, Clara decides to investigate by cozying up to her mother's former best friend, wealthy socialite Mary Ellen Winters. Mary Ellen insinuates that Constance has many sordid secrets to hide-and Hugh is just the tip of the iceberg.
"[The Shadow Drawing] reorients our perspective, distills a life and brings it into focus—the very work of revision and refining that its subject loved best." —Parul Sehgal, The New York Times | Editors' Choice An entirely new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos—an artist and an inventor. In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio—and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries. Ranging from the teeming streets of Florence to the most delicate brushstrokes on the surface of the Mona Lisa, The Shadow Drawing vividly reconstructs Leonardo’s life while teaching us to look anew at his greatest paintings. The result is both stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when that understanding was forgotten.
Author : John Hollander Publisher : University of Chicago Press Page : 197 pages File Size : 50,71 MB Release : 2016-05-31 Category : Art ISBN : 022635427X
"This volume originates in the four unpublished Clark Lectures that Hollander delivered in 1999 at Trinity College, Cambridge. These lectures were planned to provide the core of a long-meditated book, though he never completed his revisions for this before he died in 2013."--Preface.
The New York Times bestseller “The Shadow of the Wind is ultimately a love letter to literature, intended for readers as passionate about storytelling as its young hero.” —Entertainment Weekly (Editor's Choice) “One gorgeous read.” —Stephen King Barcelona, 1945: A city slowly heals in the aftermath of the Spanish Civil War, and Daniel, an antiquarian book dealer’s son who mourns the loss of his mother, finds solace in a mysterious book entitled The Shadow of the Wind, by one Julián Carax. But when he sets out to find the author’s other works, he makes a shocking discovery: someone has been systematically destroying every copy of every book Carax has written. In fact, Daniel may have the last of Carax’s books in existence. Soon Daniel’s seemingly innocent quest opens a door into one of Barcelona’s darkest secrets--an epic story of murder, madness, and doomed love.
Alli must risk everything to save her new family from a rogue organization that is threatening the Thieves Guild’s existence—and the lives of all its members—in this “not to be missed sequel” (Kirkus Reviews) to Rules for Thieves. Alli Rosco, former orphan and thief, is free after her disastrous Thieves Guild trial, which left an innocent woman dead while Alli’s partner-in-crime, Beck, fled. Now Alli is getting more than just a fresh start: her long-lost brother, Ronan, has come forward to claim responsibility for her and let her live with him on a trial basis. They try to mend the rift that started when Alli was dropped off at the orphanage while Ronan became a lawyer in Ruhia. But as determined as she is to make things work, Alli can’t seem to stay out of trouble. To make matters worse, Alli finds a surprise guest on her doorstep one night: Beck. He’s on the run and brings news of the Shadow Guild, a rogue organization that is trying to overthrow the current king of the Thieves Guild. Their friends are in real danger. And Beck needs Alli’s help one more time to bring the Shadows down. Once again, Alli is forced to make a hard choice: save her friends, or lose her last chance to have a true family.
Western thought has often dismissed shadows as fictional, but what if fictions reveal original truths? Drawing on an anti-Platonic tradition in critical theory, Lawtoo adopts ethical, anthropological, and philosophical lenses to offer new readings of Joseph Conrad’s novels and the postcolonial and cinematic works that respond to his oeuvre. He argues that Conrad’s fascination with doubles urges readers to reflect on the two sides of mimesis: one side is dark and pathological, and involves the escalation of violence, contagious epidemics, and catastrophic storms; the other side is luminous and therapeutic, and promotes communal survival, postcolonial reconciliation, and plastic adaptations to changing environments. Once joined, the two sides reveal Conrad as an author whose Janus-faced fictions are powerfully relevant to our contemporary world of global violence and environmental crisis.