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If this was a lifes work then nothing else would ever have to be said. His articles are first rate and reflect the authors years of study and his heritage to the land itself.
Israel Discovered is picture lovers dream come true. If you are considering it just for the photos and pictures you are going to love it! These photos, many taken from angles and perspective of these wonderful location and most from angles and perspectives I've never seen before in any publication.
The quality of the book is beautiful even down to the very paper that it printed on. A first class book and one that I love to hand to anyone that visits our home.
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The essays may be loosely divided into three main sections. The first comprises essays on the poetics and sources of Tolkien's fiction. The standouts here are Sullivan's "Tolkien the Bard", which suggests and that Tolkien's style may be best understood as an application of oral poetry and orally told story to written medium, and "The Dragon-Lore of Middle-Earth", which takes a close look at what Tolkien took from medieval (and specifically Norse) dragon stories and how he specifically adapted the material to his own purpose. The articles on Tolkien's verse and on his use of _Sir Gawain and the Green Knight_is also quite insightful.
The second section tends to be 'comparative' and places Tolkien and his work in juxtaposition with other authors. The most intriguing article here is one that compares Tolkien's "On Fairy Stories" with the Sir Philip Sydney's "In Defence of Poetry". What is so exciting about this is not so much the comparison of Tolkien's 'story theory' with that of Sydney, but the analysis of how, for Tolkien, creative writing-- and indeed the very act of subcreation itself-- is gendered masculine. Other articles touch on Tolkie and Lewis, _The Hobbit_ and _King Solomons Mines_, and Tolkien and Milton.
The third and final section is a more eclectic hodgepodge of articles on different subjects, ranging from Tolkien's legacy (and in particular, the ways in which female fantasy-writers have adopted, adapted, and responded to the overwhelming and masculine "shadow of the Ring"), to the elegeic quality of Tolkien's fiction and its concernw ith loss, to the nature of evil, to Tolkien's literary treatment of trees. Of all of these, the last, written by Verlyn Flieger is the most illuminating and advances the most excitin argument. Flieger carefully notes that the representation of trees and forests in _Lord of the Rings_ is *not* so universally favorable and sympathetic. By juxtaposing the Old Forest (and Old Man Willow) with Fangorn Forest (and the Ents), Flieger shows that this issue is more complex, ambiguous, and filled with internal tensions than has generally been assumed. It is, perhaps, the most important essay in this collection-- and may represent Flieger's finest work yet as a Tolkien scholar.
This is an academic book, published by a smaller press, so it's got a hefty pricetag on it-- but it's an outstanding collection of new Tolkien scholarship and I unqualifiedly recommend it to any serious Tolkien scholars. Those with an aversion to scholarly inquiry (a la _Tolkien's Legendarium_) and who prefer more fannish modes of discourse(e. g._Visualizing Middle-Earth_), however, might want to give this a pass.
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This quote from Thoreau aptly applies to the work of Flagstaff, AZ. artist James Turrell. Turrell has been fascinated all his life with the concept of light and its use in art and architecture. Add to this his notion that the individual should experience this art alone, embracing what the piece has, and does not have, to offer, and one has the basic mindset to take on his art.
To best experience Turrell, one needs to go to an exhibit and take the time necessary to participate IN his art. Like a good book or good music, art reqires a level of active participation to fully realize the piece's potential and to maximize its impact. A Turrell exhibit is a glorious thing- each person actively participates, taking in his color concepts, becoming one with them. Whether in one of his famed "skyspaces," where the participants sit in a consistently lighted room to look through an oval shaped hole in the roof at dusk to watch the changing lighting patterns- the light from the roof diminishes and the consistent railing lighting in the room dominates- or vice versa if one sees the exhibit at dawn, to his "dark rooms" where the viewer is in a 99.9% darkened room with the faint glimpse of an outline of light, allowing the mind and eyes of the viewer to re-conceive its surroundings and realities- not unlike an ink blot test, but in the dark, Turrell's pieces are challenging the concept of light and how each of us perceive it and use it in our lives.
What his art offers is vividly displayed in this book, a wonderfully in-depth one that showcases his growth and remarkable consistency brilliantly. His art is eclectic, ranging from the aforementioned "dark rooms," "Skyscapes," "blue rooms" (viewers in a room with a blue light dominating it, again, challenging perceptions and optics), to a recent "skyscape" that allowed perceived viewings of an eclipse, to his re-construction of a dormant crater (outside of Flagstaff, AZ) to allow unique views of the sky, light, the world. Each piece of art challenges the concept of optical illusion vs. reality- the light offers 3 dimenstional viewing in a 2 dimensional world based on angles of the light, the walls, etc- as well as the common perceptions of light in art.
Again, Turrell should be viewed in a proper exhibit, but this book offers a brilliant overview of his career. The text is in both German and English, but still offers precise pictures, diagrams,and Turrell's philosophies on art, light, and the world. It's a brilliant work by one of today's foremost artists.
Peace,
Soldier