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Mutter's striking images adorn the walls of homes and businesses nationwide. This collection of photomontages is presented in a generously-sized edition that will thrill aficionados and entice those unacquainted with his work. "Mutter's work is extraordinary and categorically unique".--Saul Bass. 35 duotones. (University Of Illinois Press)
Leadership continues to be one of the most written-about and most trained-for qualities in business today. And no figure so fully embodies the leadership qualities managers hope to cultivate in their professional and personal lives as the late Vince Lombardi, the greatest NFL coach of all time. The exalted place Lombardi holds in American culture has never been clearer than it is today, as evidenced by the enormous success of the 1999 bestseller, When Pride Still Mattered, as well as the vast popularity of the coach's son, Vince Lombardi, Jr., America's most sought-after motivational speaker. In What It Takes to Be #1, Vince Lombardi, Jr. explores his father's leadership philosophy, and extracts powerful lessons about what it takes to be an effective leader. Taking as his jumping-off point his father's legendary 1970 speech on the supreme importance of self-knowledge, character, and integrity, Lombardi, Jr. examines each of those qualities and offers guidelines on cultivating and applying them at work and in your personal life. Throughout, What It Takes to Be #1is enlivened by personal anecdotes and quotes about and by his father, as well as quotes from other great leaders providing further wisdom and inspiration.
For about two decades, say Johnson and Pace, the discussion of how to address prose style in teaching college writing has been stuck, with style standing in as a proxy for other stakes in the theory wars. The traditional argument is evidently still quite persuasive to some—that teaching style is mostly a matter of teaching generic conventions through repetition and practice. Such a position usually presumes the traditional view of composition as essentially a service course, one without content of its own. On the other side, the shortcomings of this argument have been much discussed—that it neglects invention, revision, context, meaning, even truth; that it is not congruent with research; that it ignores 100 years of scholarship establishing composition's intellectual territory beyond "service." The discussion is stuck there, and all sides have been giving it a rest in recent scholarship. Yet style remains of vital practical interest to the field, because everyone has to teach it one way or another. A consequence of the impasse is that a theory of style itself has not been well articulated. Johnson and Pace suggest that moving the field toward a better consensus will require establishing style as a clearer subject of inquiry. Accordingly, this collection takes up a comprehensive study of the subject. Part I explores the recent history of composition studies, the ways it has figured and all but effaced the whole question of prose style. Part II takes to heart Elbow's suggestion that composition and literature, particularly as conceptualized in the context of creative writing courses, have something to learn from each other. Part III sketches practical classroom procedures for heightening students' abilities to engage style, and part IV explores new theoretical frameworks for defining this vital and much neglected territory. The hope of the essays here—focusing as they do on historical, aesthetic, practical, and theoretical issues—is to awaken composition studies to the possibilities of style, and, in turn, to rejuvenate a great many classrooms.
This book deals with the creator of Surrealist Photography. Man Ray (1890-1976) is indisputably one of the most original artists of the 20th century. His revolutionary nude studies, fashion work, and portraits opened a new chapter in the history of photography.
Daniel S. Libman's stories bring us a new style that is part inner dialogue, part comic monologue?Grace Paley meets Charles Bukowski. Armed with a comic's wit and a poet's ear, Libman celebrates marriage by excoriating what it falls prey to and must overcome: adultery, lusts and longings, dalliances both real and imagined. Here we see the fantasies of the adulterer, the dark paranoid world of the cuckold, and surprisingly, the willingness of couples to stay together, with their tenuous, often funny steps forward after transgression. Taken together, these short works are a testament to the marriage and its demands of love, humor, and the sheer persistence of the human heart.
Presents delicious and easy to prepare recipes and dishes from the northern region of Mexico.
"Born in Berlin in 1891, John Heartfield grew up in Germany during the formative years of the main modern movements: Expressionism, Cubism, Futurism, each of which contributed recognisably to the photomontages for which he would become famous. Sharply critical of the Weimar Republic in which he flourished, in Germany his work was banned for the duration of Hitler's Third Reich. In London, where he lived as an anti-Fascist exile throughout the Second World War, he remained an outsider till after his return to East Germany in 1950, It is only since the 1970s that he has become a European, if not a world figure."--Cover
Photographs create a surrealistic mood by seamlessly combining and overlapping images