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A Source Book for Mediæval History is a scholarly piece by Oliver J. Thatcher. It covers all major historical events and leaders from the Germania of Tacitus in the 1st century to the decrees of the Hanseatic League in the 13th century.
The pew edition of the prayer book of the Anglican Church of Canada. Includes: the Divine Office; Baptism and Reconciliation; the Holy Eucharist; the Proper of the Church Year; Pastoral Offices; Episcopal Offices; Parish Thanksgiving and Prayers; the Psalter; and Music. (ABC).
"Originally commenced as a pastime, and to please a circle of friends alone, success, in any degree, can only be hoped for, because of my vantage ground as an intimate and close friend of Mr. Lincoln, and because, by reason of such intimacy, of the novelty of some of the facts and deductions, and not, in any sense, by reason, but in spite of, its literary style or, rather, the lack thereof."--Preface.
Love and tragedy dominate book four of Virgil's most powerful work, building on the violent emotions invoked by the storms, battles, warring gods, and monster-plagued wanderings of the epic's opening. Destined to be the founder of Roman culture, Aeneas, nudged by the gods, decides to leave his beloved Dido, causing her suicide in pursuit of his historical destiny. A dark plot, in which erotic passion culminates in sex, and sex leads to tragedy and death in the human realm, unfolds within the larger horizon of a supernatural sphere, dominated by power-conscious divinities. Dido is Aeneas' most significant other, and in their encounter Virgil explores timeless themes of love and loyalty, fate and fortune, the justice of the gods, imperial ambition and its victims, and ethnic differences. This course book offers a portion of the original Latin text, study questions, a commentary, and interpretative essays. Designed to stretch and stimulate readers, Ingo Gildenhard's incisive commentary will be of particular interest to students of Latin at both A2 and undergraduate level. It extends beyond detailed linguistic analysis to encourage critical engagement with Virgil's poetry and discussion of the most recent scholarly thought.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
In Beyond Belief, renowned religion scholar Elaine Pagels continues her groundbreaking examination of the earliest Christian texts, arguing for an ongoing assessment of faith and a questioning of religious orthodoxy. Spurred on by personal tragedy and new scholarship from an international group of researchers, Pagels returns to her investigation of the “secret” Gospel of Thomas, and breathes new life into writings once thought heretical. As she arrives at an ever-deeper conviction in her own faith, Pagels reveals how faith allows for a diversity of interpretations, and that the “rogue” voices of Christianity encourage and sustain “the recognition of the light within us all.”