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The brightest star in the Constellation Scorpio is the brilliant double sun Antares, around which orbits the inhabited planet called Kregen. Kregen is an Earthlike world, but strange, far stranger, than ours. For it is the scene of a conflict between galactic powers who utilize its many human nations and its astonishing variety of humanoid peoples as their battleground. Dray Prescot of Earth had been a tool of those powers, but courage and ingenuity had won him a high role in the Vallian Empire and a certain independence of his own. Thus when a mysterious monster cult began to undermine the empire and when his own beloved princess became a victim of those secret schemers, Prescot had to go into action. Secret Scorpio launches a new cycle in the magnificent history of Kregen and brings Prescot at long last into direct confrontation with the forces that had once dared make him their pawn.
An exploration of the aesthetic challenges of representing Western European and American coal-mining experiences in art, literature and film. It features 19 essays offering critical analyses of topics such as gender, class and ethnicity as portrayed in 19th- and 20th-century works.
The essays in VISUAL RHETORIC AND THE ELOQUENCE OF DESIGN foreground the rhetorical functions of design artifacts. Rhetoric, normally understood as verbal or visual messages that have a tactical persuasive objective—a speech that wants to convince us to vote for someone, or an ad that tries to persuade us to buy a particular product—becomes in Visual Rhetoric and the Eloquence of Design the persuasive use of a broad set of meta-beliefs. Designed objects are particularly effective at this second level of persuasion because they offer audiences communicative data that reflect, and also orchestrate, a potentially broad array of cultural concerns. Persuasion entails both the aesthetic form and material composition of any object.
With his comically floppy hat and striped baggy stockings, gentle, serious Uncle Lubin is left in charge of his beloved nephew Peter. One fateful day, a great Bagbird swoops down while Uncle Lubin is innocently napping, whisks away the screaming child in his beak, and flies to the moon.
The central and later decades of the twentieth century have not only been marked by the popularity of fantasy in general but of fantastic graphics in particular. As a literature relatively new to academic consideration, however, fantasy lacks a universally accepted definition, and no previous author has adequately studied the genral differences between the literalness of realistic illustration and the paradoxes of fantastic illumination. In "Illuminated Fantasy," James Whitlark presents a detailed analysis of the significance of picture/text discrepancy - its history, its various forms, and its psychological complexities.
“If I am not grotesque, I am nothing.” This insightful study illuminates previously unexplored aspects of Aubrey Beardsley’s relationship to the grotesque and his use of media, particularly his manipulation of the periodical press. For the first time and with keen intelligence, Evanghelia Stead fully reveals the aesthetic importance of Beardsley’s Bon-Mots vignettes, as well as the relationship between Darwinism, his innovative foetus motif, and Decadence itself. Beautifully illustrated throughout, the book calls on histories of culture and aesthetics to show how the artist reworked traditional imagery and manipulated it beyond recognition—revealing for instance the influence of cathedral grotesques on Beardsley’s own grotesque performances. Stead also demonstrates his major impact on Italian, French, American and German creative minds through the periodical press. Rich in original thought and detailed, comparative analysis, this book is an invigorating and enlightening read for scholars of Aubrey Beardsley, as well as for anyone interested in nineteenth-century visual culture, art history, art criticism, print culture, illustration, grotesque iconography, and cultural history.
The definitive treatment textbook in psychiatry, this fifth edition of Gabbard's Treatments of Psychiatric Disorders has been thoroughly restructured to reflect the new DSM-5® categories, preserving its value as a state-of-the-art resource and increasing its utility in the field. The editors have produced a volume that is both comprehensive and concise, meeting the needs of clinicians who prefer a single, user-friendly volume. In the service of brevity, the book focuses on treatment over diagnostic considerations, and addresses both empirically-validated treatments and accumulated clinical wisdom where research is lacking. Noteworthy features include the following: Content is organized according to DSM-5® categories to make for rapid retrieval of relevant treatment information for the busy clinician. Outcome studies and expert opinion are presented in an accessible way to help the clinician know what treatment to use for which disorder, and how to tailor the treatment to the patient. Content is restricted to the major psychiatric conditions seen in clinical practice while leaving out less common conditions and those that have limited outcome research related to the disorder, resulting in a more streamlined and affordable text. Chapters are meticulously referenced and include dozens of tables, figures, and other illustrative features that enhance comprehension and recall. An authoritative resource for psychiatrists, psychologists, and psychiatric nurses, and an outstanding reference for students in the mental health professions, Gabbard's Treatments of Psychiatric Disorders, Fifth Edition, will prove indispensable to clinicians seeking to provide excellent care while transitioning to a DSM-5® world.