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Set in 1885, The Ox-Bow Incident is a searing and realistic portrait of frontier life and mob violence in the American West. First published in 1940, it focuses on the lynching of three innocent men and the tragedy that ensues when law and order are abandoned. The result is an emotionally powerful, vivid, and unforgettable re-creation of the Western novel, which Clark transmuted into a universal story about good and evil, individual and community, justice and human nature. As Wallace Stegner writes, [Clark's] theme was civilization, and he recorded, indelibly, its first steps in a new country.
On a summer morning in 1833, Thomas Cole, a British-born, American landscape painter climbed to the top of Mount Holyoke in central Massachusetts and made a sketch of the Connecticut River where it bends and resembles an ox yoke. Three years later the sketch he made that morning became View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow). The four by six foot painting, now a key work of American art has been described as Coles attempt to create a moving time/space panorama within a single frame the passage of time is represented by the ongoing fury of the storm on the mountain as sunshine returns to the meadow below. Cole was skeptical about progress and the painting may represent a warning about the clearing of wilderness to make open land for farms and factories. Nearly two hundred years after Cole painted The Oxbow, the American photographic artist, Joel Sternfeld, walked into the mile square field depicted in the lower right quadrant of Coles painting. Sternfeld had first photographed this field in 1978 while traveling on American Prospects andby the time he returned in 2006, the Oxbow in the river was crossed by an interstate highway and the destructive effects of progress that Cole had feared were making themselves apparent globally as climate change. Sternfeld spent the next year and a half walking that field, commuting to it on an almost daily basis from his home in southern Vermont. His archive is a record of classic New England seasonality, a nature study unlike any other as it is made with the foreknowledge that because of global warming it will never be the same again. His choice of subject matter, a flat unremarkable corn and potato field (archetypal new world crops), signals a conceptual stance away from previous nature depictions: his field is neither Beautiful, nor Sublime, nor Picturesque. The flatness of the field, an unusual stretch of visual freedom in the New England highlands offers an eloquent emptiness and a vessel for the true subject his work: iconic seasonal effect as manifestation of the orbiting Earth.
Know thyself One of the biggest and most glaring pitfalls new investors face is not knowing their own money mentality, especially when it comes to risk. They don’t have enough experience to know their comfort level, and so they make mistakes like buying aggressively at the top, selling in desperation at the bottom, and—the cardinal sin—leveraging funds that should be set aside for long-term peace of mind. Things don’t have to play out this way. Investors can do better. One of the biggest steps in the right direction is taking time to make an honest assessment of your risk tolerance. Chances are, it’s a more complicated issue than it seems on the face of things. In Your Money Mentality, Ted Oakley explores common investor profiles, types of risk, considerations in your self-assessment, and what steps you can take to ensure the guidance you’re receiving matches your priorities. Risk tolerance is at the heart of most money decisions, and learning to know yourself will make you a better investor and a better partner for the people you trust to give you financial guidance.
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This overview of the "sister arts" of the nineteenth century by younger scholars in art history, literature, and American studies presents a startling array of perspectives on the fundamental role played by images in culture and society. Drawing on the latest thinking about vision and visuality as well as on recent developments in literary theory and cultural studies, the contributors situate paintings, sculpture, monument art, and literary images within a variety of cultural contexts. The volume offers fresh and sometimes extended discussions of single works as well as reevaluations of artistic and literary conventions and analyses of the economic, social, and technological forces that gave them shape and were influenced by them in turn. A wide range of figures are significantly reassessed, including the painters Charles Willson Peale, Washington Allston, Thomas Cole, George Caleb Bingham, Fitz Hugh Lane, and Mary Cassatt, and such writers as James Fenimore Cooper, Nathaniel Hawthorne, Henry David Thoreau, and William Dean Howells. One overarching theme to emerge is the development of an American national subjectivity as it interacted with the transformation of a culture dominated by religious values to one increasingly influenced by commercial imperatives. The essays probe the ways in which artists and writers responded to the changing conditions of the cultural milieu as it was mediated by such factors as class and gender, modes of perception and representation, and conflicting ideals and realities.
Traces the history of the Hudson River School of American painters, shows works by Church, Cole, and Inness, and describes the background of each painting.
The Earliest Europeans explores the early origins of man in Europe through the perspective of ‘a year in the life’: how hominins in the Lower Palaeolithic coped with the year-round practical challenges of mid-latitude Europe with its distinctive temperatures, seasonality patterns, and available resources. Current research has provided increasingly robust archaeological and Quaternary Science records, but there are ongoing uncertainties as to both the earliest Europeans’ specific survival strategies and behaviours, and the character of their dispersals into Europe. In short, how sustained and ‘successful’ were the individual phases of European occupation by Lower Palaeolithic hominins and what sorts of ‘human’ where they? Using a season-by-season chapter structure to explore, for example, the contrasting demands and opportunities of winter versus summer survival, Hosfield explores how foods and other resources would vary across the four seasons in quantity and quality, and the resulting implications for hominin behaviours. Text boxes provide the background on key issues, and the book draws on a range of supporting evidence including technology (e.g. the nature of Lower Palaeolithic stone tools; the evidence for organic tools), hominin life history (e.g. the length of infant dependency; the nature of ‘parenting’; the implications of different mating models; the Social Brain Hypothesis), cognitive studies (e.g. brain scanning research into possible planning capabilities) and potential bias in the archaeological record (e.g. in terms of what is and isn’t preserved). By testing the likelihood of different scenarios by comparing short-term, site-based insights with long-term, regional trends, Hosfield is able to out forward ideas on how our earliest European ancestors survived and what their lives were like.
The Death of Archaeological Theory? addresses the provocative subject of whether it is time to discount the burden of somewhat dogmatic theory and ideology that has defined archaeological debate and shaped archaeology over the last 25 years. Seven chapters meet this controversial subject head on, also assessing where archaeological theory is now, and future directions. John Bintliff questions what theory is and argues that archaeologists should be freed from 'Ideopraxists', or those who preach that a single approach or model is right to the exclusion of all others. Marc Pluciennik again questions what we mean by archaeological theory and argues that the role of intellectual fashion is underestimated. He predicts pressure from outside archaeology to redirect our dominant theories towards genetic and human impact theory. Kristian Kristiansen argues that theory cannot die, but it can change direction and sees signs of a retreat from the present postmodern and postprocessual cycle towards a more science based, rationalistic cycle of revived modernity. To Mark Pearce the most striking thing about the present state of archaeological theory is that there is no emerging paradigm to be discerned; he proposes that Theory is not dead, but has instead become more eclectic and nuanced. Two papers offer a different perspective from other areas of the world; Alexander Gramsch examines the issue from the German tradition and shows that in Central and Eastern Europe not only has Anglo-American Theory had limited impact, but current discussions on the future of method and theory offer a broader view of the discipline in which older traditions are seen to form the foundation. Kent Flannery and Joyce Marcus demonstrate that American archaeologists do not foresee the death of a genuinely archaeological theory (which they believe has never existed) but fear the real catastrophe would be the death of anthropological theory, because some anthropology today has become decidedly antiscientific, rejecting not only the controlled comparison and contrast of cultures, but also the use of generalization, both of which are crucial to theories and models and without which the longue durée will always be invisible.
Thomas Cole (1801–1848) is celebrated as the greatest American landscape artist of his generation. Though previous scholarship has emphasized the American aspects of his formation and identity, never before has the British-born artist been presented as an international figure, in direct dialogue with the major landscape painters of the age. Thomas Cole’s Journey emphasizes the artist’s travels in England and Italy from 1829 to 1832 and his crucial interactions with such painters as Turner and Constable. For the first time, it explores the artist’s most renowned paintings, The Oxbow (1836) and The Course of Empire cycle (1834–36), as the culmination of his European experiences and of his abiding passion for the American wilderness. The four essays in this lavishly illustrated catalogue examine how Cole’s first-hand knowledge of the British industrial revolution and his study of the Roman Empire positioned him to create works that offer a distinctive, even dissident, response to the economic and political rise of the United States, the ecological and economic changes then underway, and the dangers that faced the young nation. A detailed chronology of Cole’s life, focusing on his European tour, retraces the artist’s travels as documented in his journals, letters, and sketchbooks, providing new insight into his encounters and observations. With discussions of over seventy works by Cole, as well as by the artists he admired and influenced, this book allows us to view his work in relation to his European antecedents and competitors, demonstrating his major contribution to the history of Western art.