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The Economic Theory of Agrarian Institutions:
These specially commissioned essays apply new analytical methods to study the
origins, maintenance, and adaptation of agrarian institutions in a variety of
regions and cultures. The contributors, including J.E. Stiglitz, T.N. Srinivasan,
Clive Bell, Louis Putterman, H. Binswanger, D. Newbery, and Alain de Janvry,
focus on agrarian relations and rural development.
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Georgian Bloomsbury: The Early Literary History of the Bloomsbury Group:
Georgian Bloomsbury completes the literary history of Old Bloomsbury that began
with Victorian Bloomsbury (1987) and continued with Edwardian Bloomsbury (1994).
Covering the years between the First Post-Impressionist Exhibition and World War
I, the book describes and analyzes interrelated literary works by Roger Fry,
Desmond MacCarthy, Clive Bell, E.M. Forster, Lytton Strachey, Leonard Woolf, and
Virginia Woolf. The works considered include fiction, criticism, essays, and
polemics as well as autobiography, journalism and literary history that members
of the Bloomsbury Group wrote between 1910 and 1914.
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Georgian Bloomsbury: The Early Literary History of the Bloomsbury Group
1910-1914:
'Georgian Bloomsbury' completes the literary history of Old Bloomsbury that
began with 'Victorian Bloomsbury' (1987) and continued with 'Edwardian
Bloomsbury' (1994). Covering the years between the First Post-Impressionist
Exhibition and World War I, the book describes and analyzes interrelated
literary works by Roger Fry, Desmond MacCarthy, Clive Bell, E.M. Forster, Lytton
Strachey, Leonard Woolf, and Virginia Woolf. The works considered include
fiction, criticism, essays, and polemics as well as autobiography, journalism
and literary history that members of the Bloomsbury Group wrote between 1910 and
1914. , Literature - Classics / Criticism ; English, Irish, Scottish, Welsh ;
Books & Reading, Georgian Bloomsbury: The Early Literary History of the
Bloomsbury Group 1910-1914
bol.de - Das einfach runde Partnerprogramm
Georgian Bloomsbury: The Early Literary History of the Bloomsbury Group
1910-1914:
'Georgian Bloomsbury' completes the literary history of Old Bloomsbury that
began with 'Victorian Bloomsbury' (1987) and continued with 'Edwardian
Bloomsbury' (1994). Covering the years between the First Post-Impressionist
Exhibition and World War I, the book describes and analyzes interrelated
literary works by Roger Fry, Desmond MacCarthy, Clive Bell, E.M. Forster, Lytton
Strachey, Leonard Woolf, and Virginia Woolf. The works considered include
fiction, criticism, essays, and polemics as well as autobiography, journalism
and literary history that members of the Bloomsbury Group wrote between 1910 and
1914. , Literature - Classics / Criticism ; English, Irish, Scottish, Welsh ;
Books & Reading, Georgian Bloomsbury: The Early Literary History of the
Bloomsbury Group 1910-1914
Lion.cc – das Partnerprogramm mit Brüllerpreisen
Georgian Bloomsbury: The Early Literary History of the Bloomsbury Group
1910-1914:
'Georgian Bloomsbury' completes the literary history of Old Bloomsbury that
began with 'Victorian Bloomsbury' (1987) and continued with 'Edwardian
Bloomsbury' (1994). Covering the years between the First Post-Impressionist
Exhibition and World War I, the book describes and analyzes interrelated
literary works by Roger Fry, Desmond MacCarthy, Clive Bell, E.M. Forster, Lytton
Strachey, Leonard Woolf, and Virginia Woolf. The works considered include
fiction, criticism, essays, and polemics as well as autobiography, journalism
and literary history that members of the Bloomsbury Group wrote between 1910 and
1914. , Literature - Classics / Criticism ; English, Irish, Scottish, Welsh ;
Books & Reading, Georgian Bloomsbury: The Early Literary History of the
Bloomsbury Group 1910-1914
bol.de - Das einfach runde Partnerprogramm
A Cezanne in the Hedge and Other Memories of Charleston and Bloomsbury:
The Bloomsbury circle has long preoccupied writers, critics, and the general
public alike. For many years its focal point was Charleston Farmhouse in Sussex,
home to Vanessa and Clive Bell and Duncan Grant. 'A Cezanne in the Hedge' brings
together thirty firsthand reminiscences of the Charleston, vividly and amusingly
evoking its creativity--and eccentricity. Childhood memories from Quentin Bell,
Angelica Garnett, and Nigel Nicholson are interspersed with appraisals of the
work of Bloomsbury members such as Roger Fry, Maynard Keynes, and Virginia Woolf
and of their contribution to twentieth-century British art and thought. The
finale is a childhood spoof written by Virginia Woolf entitled 'A Terrible
Tragedy in a Duckpond.', Literature - Classics / Criticism ; Europe - Great
Britain - General, A Cezanne in the Hedge and Other Memories of Charleston and
Bloomsbury
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Erinnerungen an Bloomsbury.:
'Der Kreis von Künstlern und Literaten, der sich 1905 im Londoner Stadtteil
Bloomsbury um Virginia Woolf und ihre Schwester Vanessa Bell sammelte, ist
längst zum Inbegriff intellektueller Bohème geworden. Wer waren die Mitglieder
der legendären 'Bloomsbury Group', wie lebten sie? Quentin Bell hat alle aus
nächster Nähe kennengelernt; er war sechs Jahre alt, als seine Mutter Vanessa in
einer 'Ménage à trois' mit ihrem Mann, dem Kunstschriftsteller Clive Bell und
dem Maler Duncan Grant das 'Charleston Farmhouse' in Südengland bezog, wo sie
einen großen Teil des Jahres verbrachten. Virginia und Leonard Woolf besaßen ein
Landhaus in der Nähe; ihre Neffen Quentin und Julian waren häufig bei ihnen zu
Gast. Die vielen Besucher und Mitbewohner in Charleston und in Bloomsbury - die
Schriftsteller Lytton Strachey und David Garnett, der Maler Roger Fry, die
Kunstmäzenin Lady Ottoline Morrell, die Komponistin und Frauenrechtlerin Ethel
Smyth, der Romancier Edward M, Erinnerung / Literatur ; Biografien ; Bloomsbury
Group ; London, Geschichte; Geistes-/Kultur-G., Erinnerungen an Bloomsbury.
Lion.cc – das Partnerprogramm mit Brüllerpreisen
Erinnerungen an Bloomsbury.:
'Der Kreis von Künstlern und Literaten, der sich 1905 im Londoner Stadtteil
Bloomsbury um Virginia Woolf und ihre Schwester Vanessa Bell sammelte, ist
längst zum Inbegriff intellektueller Bohème geworden. Wer waren die Mitglieder
der legendären 'Bloomsbury Group', wie lebten sie? Quentin Bell hat alle aus
nächster Nähe kennengelernt; er war sechs Jahre alt, als seine Mutter Vanessa in
einer 'Ménage à trois' mit ihrem Mann, dem Kunstschriftsteller Clive Bell und
dem Maler Duncan Grant das 'Charleston Farmhouse' in Südengland bezog, wo sie
einen großen Teil des Jahres verbrachten. Virginia und Leonard Woolf besaßen ein
Landhaus in der Nähe; ihre Neffen Quentin und Julian waren häufig bei ihnen zu
Gast. Die vielen Besucher und Mitbewohner in Charleston und in Bloomsbury - die
Schriftsteller Lytton Strachey und David Garnett, der Maler Roger Fry, die
Kunstmäzenin Lady Ottoline Morrell, die Komponistin und Frauenrechtlerin Ethel
Smyth, der Romancier Edward M, Erinnerung / Literatur ; Biografien ; Bloomsbury
Group ; London, Geschichte; Geistes-/Kultur-G., Erinnerungen an Bloomsbury.
bol.ch - Das einfach runde Partnerprogramm
Erinnerungen an Bloomsbury.:
'Der Kreis von Künstlern und Literaten, der sich 1905 im Londoner Stadtteil
Bloomsbury um Virginia Woolf und ihre Schwester Vanessa Bell sammelte, ist
längst zum Inbegriff intellektueller Bohème geworden. Wer waren die Mitglieder
der legendären 'Bloomsbury Group', wie lebten sie? Quentin Bell hat alle aus
nächster Nähe kennengelernt; er war sechs Jahre alt, als seine Mutter Vanessa in
einer 'Ménage à trois' mit ihrem Mann, dem Kunstschriftsteller Clive Bell und
dem Maler Duncan Grant das 'Charleston Farmhouse' in Südengland bezog, wo sie
einen großen Teil des Jahres verbrachten. Virginia und Leonard Woolf besaßen ein
Landhaus in der Nähe; ihre Neffen Quentin und Julian waren häufig bei ihnen zu
Gast. Die vielen Besucher und Mitbewohner in Charleston und in Bloomsbury - die
Schriftsteller Lytton Strachey und David Garnett, der Maler Roger Fry, die
Kunstmäzenin Lady Ottoline Morrell, die Komponistin und Frauenrechtlerin Ethel
Smyth, der Romancier Edward M, Erinnerung / Literatur ; Biografien ; Bloomsbury
Group ; London, Geschichte; Geistes-/Kultur-G., Erinnerungen an Bloomsbury.
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Vita and Virginia: The Work and Friendship of V. Sackville-West and Virginia
Woolf:
When Virginia Woolf first met Vita Sackville-West at Clive Bell's home in 1922,
she wrote that Vita made her feel 'virgin, shy, & schoolgirlish'. But over the
next three years Vita charmed away her shyness, and at the end of 1925 made
Virginia her lover. Vita and Virginia examines the creative intimacy between the
two women, interpreting both their relationship and their work in the light of
their experience as married lesbians. The contradictions and conflicts of their
situation are worked out through the construction of different narratives of
femininity, in letters, novels, diaries, and other texts. The book discusses the
two women's continual renegotiation of what it means to be female, and suggests
that the mutual exchange of different versions of womanhood is crucial to the
development of their friendship. Vita and Virginia offers innovative readings of
both women's fiction, their autobiographical texts, and a long-overdue study of
Sackville-West's work as a biographer and novelist. Emphasizing wider contexts,
Suzanne Raitt assesses the links between homosexual desire and literary
innovation, public politics and private lives. Her work provides an invaluable
new perspective on the relations between sexuality and feminism in modernism.
Shop.com - UK
Everything to Lose: Diaries, 1945-60 (New ed) - Partridge, Francis:
ISBN: 0753808013 Published: Oct 1999 Format: Paperback Pages: 384 Ham Spray and
Frances's enduring partnership with Ralph are focal points in these beautifully
written diaries. Here they were surrounded by the Wiltshire downs; here a
succession of interesting friends visited and were visited in return: Gerald
Brenan, Raymond Mortimer, and Robert Kee whose dramatic relationship was 'as if
electricity had been let loose in the house'. While in London there were visits
to Cyril Connolly, lunch at The Ivy with Duncan Grant, Julia Strachey and Clive
Bell, followed by meetings of The Memoir Club for those survivors of Bloomsbury.
Frances Partridge reveals a life of such warmth, friendship and good fortune
that at the close of these diaries it seems almost impossible that death could
rob her of the source of such happiness: Ralph. Brief Description: Frances'
enduring partnership with Ralph and Ham Spray are the focal points of these
diaries. Her writings reveal a life of such warmth, friendship and good fortune
that at the close of these diaries it seems almost impossible that death could
rob her of her source of happiness: Ralph.
Shop.com - UK
Nonviolence: The History of a Dangerous Idea (Hardback) - Kurlansky, Mark:
ISBN: 0224077910 Published: Nov 2006 Format: Hardback Pages: 224 The
conventional history of nations, even continents, is a history of warfare.
According to this view, all the important ideas and significant changes of
humankind were put forward in an effort to win one violent bloody conflict or
another. This approach to history is only one of many examples of how societies
promote warfare and glorify violence. But there have always been a few who have
refused to fight. Governments have long regarded this minority as a danger to
society and have imprisoned and abused them and encouraged their persecution.
This was true of those who refused Europe's wars, who refused to fight for their
king, who refused to fight for Napoleon as well as against him. It was true of
Virginia Woolf's sister Vanessa and her husband Clive Bell - outcasts in rural
Sussex because they opposed World War I at a time when the British socialist
movement described a bayonet as a weapon with a worker on each end. It was true
of the first American draft dodger, a Menonite who believed in American
independence but believed it was wrong to use violence and rejected the call of
his local militia. It was true of the many abolitionists who had dedicated their
lives to stopping slavery but refused to fight in the Civil War. Judaism, Islam,
Christianity, Hinduism, Buddhism and, most impressively, the Menonites and the
Quakers - all have passages in their major teachings rejecting warfare as
immoral. In this brilliant exploration of pacifism, these points of view are
discussed alongside such diverse non-violence theorists as Tolstoy, Shelley,
Gandhi, Martin Luther King, Aldous Huxley, Erasmus, Confucius and Lao Tse to
show how many modern ideas - such as a united Europe, the United Nations, and
the abolition of slavery - originated in such non-violence movements. Brief
Description: The conventional history of nations, even continents, is a history
of warfare. According to this view, all the important ideas and significant
changes of humankind were put forward in an effort to win one violent bloody
conflict or another. In this exploration of pacifism, various views are
discussed alongside several non-violence theorists.
Shop.com - UK
Nonviolence: The History of a Dangerous Idea (Hardback) - Kurlansky, Mark:
ISBN: 0224077910 Published: Nov 2006 Format: Hardback Pages: 224 The
conventional history of nations, even continents, is a history of warfare.
According to this view, all the important ideas and significant changes of
humankind were put forward in an effort to win one violent bloody conflict or
another. This approach to history is only one of many examples of how societies
promote warfare and glorify violence. But there have always been a few who have
refused to fight. Governments have long regarded this minority as a danger to
society and have imprisoned and abused them and encouraged their persecution.
This was true of those who refused Europe's wars, who refused to fight for their
king, who refused to fight for Napoleon as well as against him. It was true of
Virginia Woolf's sister Vanessa and her husband Clive Bell - outcasts in rural
Sussex because they opposed World War I at a time when the British socialist
movement described a bayonet as a weapon with a worker on each end. It was true
of the first American draft dodger, a Menonite who believed in American
independence but believed it was wrong to use violence and rejected the call of
his local militia. It was true of the many abolitionists who had dedicated their
lives to stopping slavery but refused to fight in the Civil War. Judaism, Islam,
Christianity, Hinduism, Buddhism and, most impressively, the Menonites and the
Quakers - all have passages in their major teachings rejecting warfare as
immoral. In this brilliant exploration of pacifism, these points of view are
discussed alongside such diverse non-violence theorists as Tolstoy, Shelley,
Gandhi, Martin Luther King, Aldous Huxley, Erasmus, Confucius and Lao Tse to
show how many modern ideas - such as a united Europe, the United Nations, and
the abolition of slavery - originated in such non-violence movements. Brief
Description: The conventional history of nations, even continents, is a history
of warfare. According to this view, all the important ideas and significant
changes of humankind were put forward in an effort to win one violent bloody
conflict or another. In this exploration of pacifism, various views are
discussed alongside several non-violence theorists.
Shop.com - UK
Philosophy of Art: Readings Ancient and Modern - Neill, Alex;Ridley, Aaron:
ISBN: 0070461929 Published: Jan 1995 Format: Paperback Pages: 592 This anthology
is intended as a core text for courses in aesthetics or philosophy of art. It
contains a wealth of readings from both classic and contemporary sources, and
aims to present substantial selections from those texts rather than mere
"snippets." Readings are organized historically within four broad themes so that
students can see how concepts of art have evolved and been debated. Each reading
is introduced by the authors, who suggest connections between the reading and
others in the anthology. Unlike other anthologies on the market, "The Philosophy
of Art" is both comprehensive and affordable, making it the ideal book for
course use. Contents: ONE: ARTISTS: CONCEPTS OF CREATIVITY. Plato: The Ion
(Woodruff translation). Wordsworth: Preface to the 1800 edition of Lyrical
Ballads. Nietzsche: "Attempt at a Self-Criticism," and extensive excerpts from
sections 1-15 of The Birth of Tragedy (Kaufmann translation). Freud: "Creative
Writers and Day-dreaming" (Grant Duff translation). Eliot: "Tradition and the
Individual Talent." Beardsley: "On the Creation of Art." John Dewey: "Having an
Experience." Hans-Georg Gadamer: "The Play of Art," from The Relevance of the
Beautiful. Christine Battersby: "The Male Gift" and "The Great +I AM'," Chapters
4 and 5 of Gender and Genius. TWO: ARTWORKS. Form and Content. Clive Bell: "The
Aesthetic Hypothesis," from Art. Clement Greenberg: "Modernist Painting." R G
Collingwood: Excerpts from the Introduction and Book I, "Art and Not Art," of
The Principles of Art. R K Elliott: "Aesthetic Theory and the Experience of
Art." The Project of Definition Morris Weitz: "The Role of Theory in
Aesthetics." Maurice Mandelbaum: "Family Resemblances and Generalizations
Concerning the Arts." Arthur C Danto: "The Artworld." George Dickie: "The New
Institutional Theory of Art." Jerrold Levinson: "Defining Art Historically."
Richard Eldridge: "Form and Content: An Aesthetic Theory of Art." THREE:
AUDIENCES. The Logic of Taste. David Hume: "Of the Standard of Taste." Immanuel
Kant: "Analytic of the Beautiful." Edward Bullough, "Psychical Distance." Frank
Sibley, "Aesthetic Concepts. Kendall Walton: "Categories of Art." Stanley Cavell:
"Aesthetic Judgment and a Philosophical Claim." Arnold Isenberg: "Critical
Communication." Intention and Interpretation. Dewey: "Having an Experience,"
from Art as Experience. Wimsatt & Beardsley: "The Intentional Fallacy." Roland
Barthes: "The Death of the Author," from Image-Music-Text. E D Hirsch: "In
Defense of the Author" (Chapter 1 of Validity in Interpretation). Richard
Wollheim: "Criticism as Retrieval." Michael Baxandall: "Intentional Visual
Interest" from Chapter 2 of Patterns of Intention. Jenefer Robinson: "Style and
Personality in the Literary Work." Beardsley: "The Testability of an
Interpretation." Stanley Fish: "Is There a Text in this Class?" Susan Sontag:
"Against Interpretation." FOUR: ART: PURPOSES AND
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