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The slaughter at Hlobane was second only to that at Isandlwana two months earlier, which ravaged morale in the British Army. This was in part responsible for the highly questionable conduct of some of the officers when faced with the enemy at Hlobane, leading to the British rout at Devil's Pass. Without defeat at Hlobane, however, victory at Kambula might not have been possible: the warriors of the leading Zulu regiments, over-confident after their resounding success, were easily provoked into an ill-judged attack on the enemy camp at Kambula, and exhausted themselves before the British survivors of the previous day's battle set out in pursuit, leaving 1,000 Zulu dead on the Zunguin Plain.
Since its publication in the late 1950s, Mountains Painted with Turmeric has struck a chord in the hearts of hundreds of thousands of Nepali readers. Set in the hills of far eastern Nepal, the novel offers readers a window into the lives of the people by depicting in subtle detail the stark realities of village life. Carefully translated from the original text, Mountains Painted with Turmeric tells the story of a peasant farmer named Dhané (which means, ironically, "wealthy one") who is struggling to provide for his wife and son and arrange the marriage of his beautiful younger sister. Unable to keep up with the financial demands of the "big men" who control his village, Dhané and his family suffer one calamity after another, and a series of quarrels with fellow villagers forces them into exile. In haunting prose, Lil Bahadur Chettri portrays the dukha, or suffering and sorrow, endured by ordinary peasants; the exploitation of the poor by the rich and powerful; and the social conservatism that twists a community into punishing a woman for being the victim of a crime. Chettri describes the impoverishment, dispossession, and banishment of Dhané's family to expose profound divisions between those who prosper and those who are slowly stripped of their meager possessions. Yet he also conveys the warmth and intimacy of village society, from which Dhané and his family are ultimately excluded.
On the grounds of the interpretation of Rainer Maria Rilke¿s poetry and Paul Cézanne¿s paintings the book attempts to approach the work of art as a thing. This lets to overcome a one-sided aesthetical interpretation of the origin of the work of art and to indicate its place in the cosmos of uncreated, i.e. not hominized things. So, the second fundamental issue raised is a try to point out a metaphysical difference between a hominized and not hominized (natural) thing. Such a non-aesthetical point of view is called ontotopy by the author and is opposed to traditional ontology and the philosophy of art.
A fascinating compilation of stories about lost lands, weird locations, and strange sites.
Over the past few decades, research on metaphor has focused almost exclusively on its verbal and cognitive dimensions. In Pictorial Metaphor in Advertising, Charles Forceville argues that metaphor can also occur in pictures and draws on relevant studies from various disciplines to propose a model for the identification, classification, and analysis of 'pictorial metaphors'. By using insights taken from a range of linguistic, artistic and cognitive perspectives for example, interaction and relevance theory, Forceville shows not only how metaphor can occur in pictures, but also provides a framework within which these pictorial metaphors can be analyzed. The theoretical insights are applied to thirty advertisements and billboards of British, French, German and Dutch origin. Apart from substantiating the claim that it makes sense to talk about `pictorial metaphors', the detailed analyses of the advertisements suggest how metaphor theory can be employed as a tool in media studies. Context in its various manifestations plays a key role in the analyses. Furthermore, the results of a small-scale experiment shed light on where general agreement about the meaning of a pictorial metaphor can shade over into other more idiosyncratic but equally valid interpretations. The final chapter sketches the ways in which the insights gained can be used for further research.
A fascinating and novel exploration of the transformative role played by the American West in the development of modernism in the United States Drawing extensively from various disciplines including ethnology, geography, geology, and environmental studies, this groundbreaking book addresses shifting concepts of time, history, and landscape in relation to the work of pioneering American artists during the first half of the 20th century. Paintings, watercolors, and photographs by renowned artists such as Frederic Remington, Georgia O'Keeffe, Ansel Adams, Thomas Hart Benton, Dorothea Lange, and Jackson Pollock are considered alongside American Indian ledger drawings, tempuras, and Dineh sandpaintings. Taken together, these works document the quest to create a specifically American art in the decades prior to World War II. The Modern West begins with a captivating meditation on the relationship between human culture and the physical landscape by Barry Lopez, who traveled the West in the artists' footsteps. Emily Ballew Neff then describes the evolving importance of the West for American artists working out a radically new aesthetic response to space and place, from artist-explorers on the turn-of-the-century frontier, to visionaries of a Californian arcadia, to desert luminaries who found in its stark topography a natural equivalent to abstraction. Beautifully illustrated and handsomely designed, this book is essential to anyone interested in the West and the history of modernism in American art.