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Anti Journal is no ordinary journal, it's an anarchic, therapeutic route to personal and artistic discovery packed with partially illustrated pages to complete in imaginative unconventional ways. For all ages, bedroom journalers, total novices or professional artists, Anti Journal is sheer creative bliss and the catalyst for discovering your own twist: create, pattern, draw, paint, disguise, stain, collage, construct, colour, stitch, sketch, write, tape, document and discover talents you never knew you had. Create beyond the norm: use paint, pens, pencils, chalk, but how about old clothes, fruit peel, cellphones, emotions, highlighters, digital media, physical actions, junk, photography and nature too? Anti Journal knows no boundaries or rules. It's the personal tool for expression and will stir your imagination out of even the deepest slumber. No matter where you go, just carry your handy-sized Anti Journal in your bag and live a more creative life. It's therapeutic, joyous and expressive - its journaling outside of the box.
For the better part of three decades romance comics were an American institution. Nearly 6000 titles were published between 1947 and 1977, and for a time one in five comics sold in the U.S. was a romance comic. This first full-length study examines the several types of romance comics, their creators and publishing history. The author explores significant periods in the development of the genre, including the origins of Archie Comics and other teen publications, the romance comic "boom and bust" of the 1950s, and their sudden disappearance when fantasy and superhero comics began to dominate in the late 1970s.
Mary Blachford Tighe was born in Dublin in 1772 and became a poet by the age of seventeen. Her enormously popular 1805 epic poem "Psyche; or, The Legend of Love" made her a fixture of English literary history for much of the nineteenth century. For much of the twentieth century, however, Tighe was better known for her influence on Keats's poetry than the considerable merits of her own work. The Collected Poems and Journals of Mary Tighe restores Tighe to the general canon of English literature of the period. With over eighty-five poems, including the complete Psyche, and extracts from several journals, both by and about Tighe, Harriet Kramer Linkin's annotated edition is the most complete collection of Mary Tighe's work to be published in one volume.
To the Collector Belong the Spoils rethinks collecting as an artistic, revolutionary, and appropriative modernist practice, which flourishes beyond institutions like museums or archives. Through a constellation of three author-collectors—Henry James, Walter Benjamin, and Carl Einstein—Annie Pfeifer examines the relationship between literary modernism and twentieth-century practices of collecting objects. From James's paper hoarding to Einstein's mania for African art and Benjamin's obsession with old Russian toys, she shows how these authors' literary techniques of compiling, gleaning, and reassembling constitute a modernist style of collecting that reimagines the relationship between author and text, source and medium. Placing Benjamin and Einstein in surprising conversation with James sharpens the contours of collecting as aesthetic and political praxis underpinned by dangerous passions. An apt figure for modernity, the collector is caught between preservation and transformation, order and chaos, the past and the future. Positing a shadow history of modernism rooted in collection, citation, and paraphrase, To the Collector Belong the Spoils traces the movement's artistic innovation to its preoccupation with appropriating and rewriting the past. By despoiling and decontextualizing the work of others, these three authors engaged in a form of creative plunder that evokes collecting's long history in the spoils of war and conquest. As Pfeifer demonstrates, more than an archive or taxonomy, modernist collecting practices became a radical, creative endeavor—the artist as collector, the collector as artist.
Hope. Love. Longing. Fear. Anger. Pain. Despair. These are the emotions that unify all human beings regardless of race, culture, country, or social standing. This poetic anthology is a self examination by the author of how she experiences these emotions in her own life, which serves as an example for our own suffering. Are we all doomed to feel these emotions in these stages or is it more like a circle, with hope leading to despair and back to hope again? Like the sinking of the Titanic, the loss of the author was a tragedy, especially for someone who brought so much happiness to all those around her. And like the Titanic whose treasures were unearthed after her sinking, so too is this book of poems a treasure brought back to the surface for you to enjoy. One of the first of many.
Autobiographies consists of six autobiographical works that William Butler Yeats published together in the mid-1930s to form a single, extraordinary memoir of the first fifty-eight years of his life, from his earliest memories of childhood to winning the Nobel Prize for Literature. This volume provides a vivid series of personal accounts of a wide range of figures, and it describes Yeats's work as poet and playwright, as a founder of Dublin's famed Abbey Theatre, his involvement with Irish nationalism, and his fascination with occultism and visions. This book is most compelling as Yeats's own account of the growth of his poetic imagination. Yeats thought that a poet leads a life of allegory, and that his works are comments upon it. Autobiographies enacts his ruling belief in the connections and coherence between the life that he led and the works that he wrote. It is a vision of personal history as art, and so it is the one truly essential companion to his poems and plays. Edited by William H. O'Donnell and Douglas N. Archibald, this volume is available for the first time with invaluable explanatory notes and includes previously unpublished passages from candidly explicit first drafts.