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Colorful guide to Armenia including information about the geography, history and people of the nation.
This book investigates the historical evolution of 'humanitarian photography' - the mobilization of photography in the service of humanitarian initiatives across state boundaries.
Originally published in 1970, this book is the result of many years of study and research in the field. It begins with a geographic and ethnic survey of the land and Armenian people and traces the land’s prehistory back to the Old Stone Age. The origins of the wine-making and bronze-working industries are discussed, in which Armenia played a pioneering role. The outstanding Armenian contribution to Church art and architecture is also explored as is the contribution of Armenia to painting, philosophy, and science. The final section is devoted to an account of Soviet Armenia.
The idea that suicide may be an acceptable, rational option is rarely presented in professional literature. However, recent events and developments forcefully demonstrate that mental health professionals can no longer ignore the possibility that people can make a rational decision to die. After introducing the concept of rational suicide, the book explores the changing views of suicide over the centuries. Common arguments against rational suicide are examined and rebutted.
At the beginning of the twentieth century, millions of immigrants came to the United States in search of a better life and greater opportunities for their families. However, the Armenians who came to Worcester between 1894 and 1930 were escaping a devastating genocide that tore their country apart. What they found and how they became an integral part of Worcester culture and history is the story found in Armenians of Worcester. Worcester was a mecca for many Armenians, who had escaped with little more than their lives. There were mills that provided work, and there was a growing number of Armenians who were struggling to make sense of what had happened in their homeland. The first Armenian Apostolic church and the first Armenian Protestant church in America were both in this city, and both helped to build new foundations for a community that was to enrich the city and slowly resurrect the art, theater, music, and food that celebrates the Armenian culture. The Armenian picnics that were an integrating influence in the early years continue even today as a gathering of clans and all who join in on these days of celebration.
In a culture that often understands formal experimentation or theoretical argument to be antithetical to pleasure, Atom Egoyan has nevertheless consistently appealed to wide audiences around the world. If films like The Adjuster, Calendar, Exotica, and The Sweet Hereafter have ensured him international cult status as one of the most revered of all contemporary directors, Egoyan's forays into installation art and opera have provided evidence of his versatility and confirmed his talents. Throughout his career, Atom Egoyan has shown himself to possess the rarest kind of singularity. As Jonathan Romney puts it, Egoyanþs 2preoccupations and tropes have been so consistent that he's practically created his own genre3 (1995, 8). Hrag Vartanian adds, 2Egoyanesque has become a word to film aficionados, commonly understood to mean a cinematic moment that examines sexuality, technology and alienation in the modern world3 (2004). For this singularity, Egoyan is widely hailed as a true auteur, ƯƯsomeone carrying on the legacy of the European art-house traditions of Bergman, Godard, and Truffaut. Certainly, his work bears a most recognizable signatureƯƯthere is no confusing an Egoyan work with anyone elseþs. Like his art-house predecessors, Egoyan clearly intends that his work be, as Dudley Andrew puts it, 2read rather than consumed,3 that is, viewed meditatively, reflected upon, and discussed (2000, 24). And indeed, in this world in which filmmaking has become commonplacewhere, as Egoyan has said, 2what used to be a rarified activity is now available to anyone with a digital camera and a computer3 (2001b, 18) he intends through much of his work to recall an earlier image culture in which artists had an ability to produce something that gained its power precisely through its rarity.
A Financial Times Book of the Year A Foreign Affairs Book of the Year A Spectator Book of the Year “A landmark contribution to the study of these epochal events.” —Times Literary Supplement “Brilliantly researched and written...casts a careful eye upon the ghastly events that took place in the final decades of the Ottoman empire, when its rulers decided to annihilate their Christian subjects...Hitler and the Nazis gleaned lessons from this genocide that they then applied to their own efforts to extirpate Jews.” —Jacob Heilbrun, The Spectator Between 1894 and 1924, three waves of violence swept across Anatolia, targeting the region’s Christian minorities. By 1924, the Armenians, Assyrians, and Greeks, once nearly a quarter of the population, had been reduced to 2 percent. Most historians have treated these waves as distinct, isolated events, and successive Turkish governments presented them as an unfortunate sequence of accidents. The Thirty-Year Genocide is the first account to show that all three were actually part of a single, continuing, and intentional effort to wipe out Anatolia’s Christian population. Despite the dramatic swing from the Islamizing autocracy of the sultan to the secularizing republicanism of the post–World War I period, the nation’s annihilationist policies were remarkably constant, with continual recourse to premeditated mass killing, homicidal deportation, forced conversion, and mass rape. And one thing more was a constant: the rallying cry of jihad. While not justified under the teachings of Islam, the killing of two million Christians was effected through the calculated exhortation of the Turks to create a pure Muslim nation. “A subtle diagnosis of why, at particular moments over a span of three decades, Ottoman rulers and their successors unleashed torrents of suffering.” —Bruce Clark, New York Times Book Review
The aim of this book is to demonstrate the presence in the very ancient Eastern Churches of religious images of all kinds (icons, paintings, illuminations), including the representation of Christ, together with the veneration (not the adoration) of icons/images. Presented here are not only the iconographic but also the liturgical-and especially the Christological-dimensions of the icon on the basis of texts used by these four traditions down the centuries. In contrast to the Byzantine Orthodox world which, after a controversy on this subject, officially established the veneration of icons from the time of the Second Council of Nicaea (787) and in 843, these Churches did not experience Iconoclasm. Christine Chaillot is Swiss and Orthodox (Patriarchate of Constantinople). She has published several books on the Orthodox Churches and the Oriental Orthodox Churches. (Series: Studies on Oriental Orthodox Church History / Studien zur Orientalischen Kirchengeschichte, Vol. 55) [Subject: Religious Studies, Christian Studies, History, Iconography]