The Book with No Pictures
A #1 New York Times bestseller, this innovative and wildly funny read-aloud by award-winning humorist/actor B.J. Novak will turn any reader into a comedian. You might think a book with no pictures seems boring and serious. Except . . . here’s how books work. Everything written on the page has to be said by the person reading it aloud. Even if the words say . . . BLORK. Or BLUURF. Even if the words are a preposterous song about eating ants for breakfast, or just a list of astonishingly goofy sounds like BLAGGITY BLAGGITY and GLIBBITY GLOBBITY. Cleverly irreverent and irresistibly silly, The Book with No Pictures is one that kids will beg to hear again and again. (And parents will be happy to oblige.)
"Pastor, theologian, resister, Dietrich Bonhoeffer (1906-45) has been an influential theologian and inspiration for more than 60 years. This unique pictorial account of Bonhoeffer's life, family, and friends, and of the Germany in which he lived and died, is now available in a new edition with added photographs and a new design." "With more than 200 photos - including many portraits of Bonhoeffer's ancestors, family gatherings, press photos of contemporary events, maps, postcards, and newspaper accounts, posters, book jackets - this book gives the reader a real sense of Bonhoeffer's family context and the decisive times in which he lived and strove." "The twelve chapters in this volume recapture distinct periods in Bonhoeffer's life, setting events in his family against the tumultuous events in church, state, and the international scene. The brief accompanying texts provide essential information, but on the whole the pictures are allowed to speak for themselves. For those who know Bonhoeffer through his writings or even films about him, this centenary edition will introduce Bonhoeffer the man and the circle of family and friends who together with him faced fateful choices."--BOOK JACKET.
Pictures at a Revolution
The epic human drama behind the making of the five movies nominated for Best Picture in 1967-Guess Who's Coming to Dinner, The Graduate, In the Heat of the Night, Doctor Doolittle, and Bonnie and Clyde-and through them, the larger story of the cultural revolution that transformed Hollywood, and America, forever It's the mid-1960s, and westerns, war movies and blockbuster musicals-Mary Poppins, The Sound of Music-dominate the box office. The Hollywood studio system, with its cartels of talent and its production code, is hanging strong, or so it would seem. Meanwhile, Warren Beatty wonders why his career isn't blooming after the success of his debut in Splendor in the Grass; Mike Nichols wonders if he still has a career after breaking up with Elaine May; and even though Sidney Poitier has just made history by becoming the first black Best Actor winner, he's still feeling completely cut off from opportunities other than the same "noble black man" role. And a young actor named Dustin Hoffman struggles to find any work at all. By the Oscar ceremonies of the spring of 1968, when In the Heat of the Night wins the 1967 Academy Award for Best Picture, a cultural revolution has hit Hollywood with the force of a tsunami. The unprecedented violence and nihilism of fellow nominee Bonnie and Clyde has shocked old-guard reviewers but helped catapult Warren Beatty and Faye Dunaway into counterculture stardom and made the movie one of the year's biggest box-office successes. Just as unprecedented has been the run of nominee The Graduate, which launched first-time director Mike Nichols into a long and brilliant career in filmmaking, to say nothing of what it did for Dustin Hoffman, Simon and Garfunkel, and a generation of young people who knew that whatever their future was, it wasn't in plastics. Sidney Poitier has reprised the noble-black-man role, brilliantly, not once but twice, in Guess Who's Coming to Dinner and In the Heat of the Night, movies that showed in different ways both how far America had come on the subject of race in 1967 and how far it still had to go. What City of Nets did for Hollywood in the 1940s and Easy Riders, Raging Bulls for the 1970s, Pictures at a Revolution does for Hollywood and the cultural revolution of the 1960s. As we follow the progress of these five movies, we see an entire industry change and struggle and collapse and grow-we see careers made and ruined, studios born and destroyed, and the landscape of possibility altered beyond all recognition. We see some outsized personalities staking the bets of their lives on a few films that became iconic works that defined the generation-and other outsized personalities making equally large wagers that didn't pan out at all. The product of extraordinary and unprecedented access to the principals of all five films, married to twenty years' worth of insight covering the film industry and a bewitching storyteller's gift, Mark Harris's Pictures at a Revolution is a bravura accomplishment, and a work that feels iconic itself.
Children and Pictures
CHILD & DEVELOPMENTAL PSYCHOLOGY. When children draw, what are they trying to convey? What do they see in their own work and what can we learn from it? Richard Jolley critiques the most recent studies conducted in the field, lending insight and perspective to art's roll in understanding child development. Addressing the traditional theories of drawing development, Jolley examines the key concepts of understanding and production, regarding pictures as representations, and relates this idea to children's concept of representation as a whole. Emphasizing the need to bring the study of children's drawings into mainstream child development studies, this text looks at the use of drawings in clinical settings, their noted benefits in therapeutic processes and examines their use as memory aids. Presenting up-to-date research, and pointing towards future topics of study, "Children and Pictures" is an edifying resource for parents, students, researchers, and educators in the field.
Piggy s Pictures
Piggy and Dad have fun with drawings, the bathtub, sandwiches, and bedtime.
Expressive Drug Pictures of Homoeopathic Materia Medica
Dr Chauhan has taken a lot of pains and given considerable thinking to produce this book. The book contains pictures to express the symptoms of the disease to enable the homeopath to understand the same. The pictures have been drawn well. If the students see the pictures, they will not miss the symptom of the ailment and in homeopathy the understanding of the ailment and in homeopathy the understanding of symptoms is very important. Any student seeing the pictures in the book will not forget the character of the disease indicated by it and for them this is very essential.
Pictures of Romance
How do pictures tell stories? Why does the literary romance so often refer to paintings and other visual art objects? Beginning with these two seemingly unrelated questions, Wendy Steiner reveals an intricate exchange between the visual arts and the literary romance. Romances violate the casual, temporal, and logical cohesiveness of realist novels, and they do so in part by depicting love as a state of suspension, a condition outside of time. Steiner argues that because Renaissance and post-Renaissance painting also represents a suspended moment of perception with "unnatural" clarity and compression of meaning, it readily serves the romance as a symbol of antirealism. Yet the atemporality of stopped-action painting was actually an attempt to achieve pictorial realism—the way things "really" look. It is this paradox that interests Steiner: to signal their departure from realism, romances evoke the symbol of "realistic" visual artwork. Steiner explores this problem through analyses of Keats, Hawthorne, Joyce, and Picasso. She then examines a return to narrative conventions in visual art in the twentieth century, in the work of Lichtenstein and Warhol, and speculates on the fate of pictorial storytelling and the romance in postmodern art. An aesthetic fantasia of sorts, this study combines theory and analysis to illuminate an unexpected interconnection between literature and the visual arts.
Words for Pictures
The Italian Renaissance was a creative period for art criticism as well as for art itself. The early efforts to give verbal accounts of visual representations and their quality throw light not only on the art of the period but also on art criticism at any time. This collection of papers by art historian and critic Michael Baxandall represents his thinking over the past forty years on the relation between language and art. He offers seven thought-provoking pieces, three of which are new and written specifically for this book. Focusing on works of the fifteenth century, Baxandall shows with fresh insight how words match the experience of looking at paintings and sculptures. The author introduces the basic Renaissance framework for art criticism and proceeds to explore various humanist critical writings of the fifteenth and early sixteenth centuries. He concludes with a major new essay on Piero della Francesca’s Resurrection of Christ in which he probes the visual experience of a painting that criticism seeks to verbalize.