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Step right up, step right up...it's a bloody good time! Rediscover carnivals, amusement parks, county fairs, the circus, rodeos and more in this gruesome tribute to the fun, fanfare and frivolity of festivals. Freak shows, rusted rides, demonic ringmistresses, demented clowns, melting beauty queens, flesh-eating fun-seekers, ghosts, gremlins and other terrors haunt the pages of this bloody collection of thirty-four short stories. Includes stories by the following authors: Darin Kennedy, Lee Pletzers, Chris Deal, Matt Kurtz, Eden Royce, Rob Rosen, Bruce Harris, Mindy MacKay, Stephanie Kincaid, David Greske, Stephanie L. Morrell, A.R. Norris, Tony Schaab, Marianne Halbert, Carnell, Frank Roger, Scott Taylor, Sylvia Spruck Wrigley, Scott Cole, Nicole Zoltack, Jack Horne, T.L. Perry, Shawn Cook, Jennifer Chambers, Jessica A. Weiss, Cherie Reich, Lorraine Horrell, Matthew S. Dent, Gregory L. Norris, Murphy Edwards, Kent Alyn, Robert Essig, Darren W Pearce & Neal Levin and Wayne Goodchild.
Full of intrigue and suspense, Every Picture Tells a Story is a compelling mystery of art theft and forgery set against the backdrop of Venice. Six months after being released from prison for forgery, London artist Martin Phipps is starting over. While making the rounds at a gallery opening, Martin meets and speaks with a mysterious Italian man who is searching for the same art dealer that hired Martin to paint forgeries. Later that evening, while walking the streets of London, Martin saves the Italian man from being mugged. In the scuffle, he sees in the man's bag a photograph, of a very rare painting, recently stolen from a church outside of Venice--The Madonna of the Swan. The next day, while painting at his studio, Martin is attacked by two Italian thugs who question him about the mysterious Italian and then burn his entire collection. So, with nothing to keep him im London, Martin travels to Venice to investigate the theft of The Madonna of the Swan and track down the Italian himself. "[A] lighthearted romp." - Kirkus Reviews
"When I studied these manuals, a source then little exploited, I noticed that the academic, like the merchant, was justified by reference to the labor he accomplished. The novelty of the academics thus ultimately appeared to lie in their role as intellectual workers. My attention was therefore drawn to two notions whose ideological avatars I attempted to trace through the concrete social conditions in which they developed. These notions were labor and time. Under these two heads I maintain two open files, from which some of the articles collected here are drawn. I am still persuaded that attitudes toward work and time are essential aspects of social structure and function, and that the study of such attitudes offers a useful tool for the historian who wishes to examine the societies in which they develop."--Preface, page xii
No detailed description available for "The historian between the ethnologist and the futurologist".
The 1980s witnessed the ascendency of Russian women in multiple spheres of artistic creation, including literature, film, and painting. This volume may thus be said to engage not only women's artistic production but, indeed, the best and most colourful of recent Russian culture. Treating contemporary Russian women's creativity, it approaches women's texts, films, and canvasses from a range of perspectives, from anti-gendered to feminist. Some of the essays introduce writers not previously well studied, others challenge conventional interpretations and assumptions, while still others yield original viewpoints through novel juxtapositions. In addition to offering insights into the various artists under analysis, the essays map the wide terrain of issues and methodologies proliferating in cultural criticism today, and mirror the diversity that is one of the most appealing features of women's creativity in contemporary Russia.
Presents a pro-South, pro-state rights, pro-slavery, anti-Republican Party, and anti-Abraham Lincoln view of the Civil War.