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Presents a revision of the late Columbia University art historian's lectures given at Indiana University in 1961.
" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.
While working in Africa, anthropologist Julien Bonhomme encountered an astonishing phenomenon: people being accused of stealing or shrinking the genitals of strangers on the simple occasion of a handshake on the street. As he soon discovered, these accusations can have dramatic outcomes: the "sex thieves" are often targeted by large crowds and publicly lynched. Moreover, such rumors are an extremely widespread practice, having affected almost half of the African continent since the 1970s. In this book, Bonhomme examines the story of the "penis snatcher," asking larger questions about how to account for such a phenomenon--unique in its spatial and temporal scale--without falling prey to the cliché of Africa as an exotic other. Bonhomme argues that the public belief in sex thieves cannot be considered a superstition or form of mass hysteria. Rather, he brings to light multiple factors that explain the rumor's success and shows how the cultural dynamic can operate on a vast scale. Analyzing the rumor on both transnational and local levels, he demonstrates how it arises from the ambiguities and dangers of anonymity, and thus that it reveals an occult flipside to everyday social interaction. Altogether, this book provides both richly ethnographic and theoretical understandings of urban sociality and the dynamics of human communication in contemporary Africa and beyond.
Fourth book in the acclaimed Moe Prager Mystery series taking place in New York City
The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.
"Desjardins' conclusion, that the Theaetetus really does point to a particular theory of knowledge, certainly will be controversial, since for many people the idea that the Theaetetus fails to define knowledge is the cornerstone of their interpretation of Plato's later philosophical thought. But whatever one thinks about the conclusion, it must be agreed that the manner in which it is defended is intrinsically important. Desjardins starts from the unassailable premise that the dialogues are internally unified, and that everything in the dialogues is there for a reason. Her method, then, is to show how some of the features of the dialogue that are usually not taken very seriously actually are very important. Of course, she is not the only scholar taking this sort of tack, but what she makes of the various elements of the Theaetetus is a most impressive construction.
Strife has raged about Karl Marx for decades, and never had it been so embittered as at the time of this book’s first publication, 1936. Marx had impressed his image on the time as not other had done. To some he was – and still is – a fiend, the arch-enemy of human civilisation, and the prince of chaos, while to others he is a far-seeing and beloved leader, guiding the human race towards a brighter future. The arena in which Marx was fought about in 1936 was in the factories, in the parliaments and at the barricades. In both camps, the bourgeois and the socialist, Marx was first of all, if not exclusively, the revolutionary. This book sets out to describe the life of Marx the fighter.
Heroic figures galloping across the loose sands of the Sahara, their flowing white kepis a symbol of the highest romance and adventure...or murderers and human derelicts, rejected by society and hunted by the police, seeking escape from prison in the ranks of the Légion Étrangère? Neither picture—so commonly held by the general public—is even partially accurate, writes Walter Kanitz. During World War II, Walter Kanitz fought with the Foreign Legion in Africa. He has done a vast amount of research and reading about the Legion, and has made every possible effort to check his facts. His book represents the first comprehensive and objective history of the French Foreign Legion since its inception in 1831 by the royal decree of Louis Philippe. For the better part of its history, the Foreign Legion, remote, fascinating, somewhat sinister, has been shrouded in mystery. It has been called everything from “Desert Carrion” to the “Legion of Beggars.” It was often said that “dogs bark when the Legion passes.” Yet, in battle, the Légionnaires are famed for a courage and heroism that knows no fear of death. They are considered by most professional soldiers to be, as a unit, the best fighting force in the world. When a new recruit applies for enlistment, he is made to wait 24 hours to reconsider his decision. The ranks are made up of men of all nationalities—Germans, Poles, Czechs, Slavs, Spaniards, Americans. It is the only army in existence today made up of mercenaries who have voluntarily signed to serve five years for the government of France. The discipline is harsh and the pay meager. The call to battle has taken Legion units from Mexico to Norway, from China to Morocco. Outside of battle, life consists of infinite boredom broken only by alcohol and an occasional woman. And yet, says ex-Legionnaire Kanitz, “Qu’importe, quand la Légion passe, que les chiens viennent aboyer après d’elle! Vive la Légion!”
This book makes available to linguists and Sanskritists a collection of the most important articles on the Sanskrit grammarians, and provides a connected historical outline of their activities.
The first edition of this unique book established itself as an unparalleled source of information on perfume. Although it is primarily aimed at perfumers and others in the perfume industry, it has also found substantial sales among a wide range of others including aromatherapists, botanists, and many others who wanted to learn more about this faceted subject. The new edition is now aimed squarely at perfumery marketing specialists and others in the industry world-wide and covers in particular the needs of publicity/advertising teams and journalists, together with sales people and consultants at the counters who like to have a wide range of information at their fingertips. Changes include: an expansion of the number of profiles of the perfume houses, and of the 50 or so new perfumes worthy of record which have been launched since the previous edition. There is also increased coverage of the essences and the plants and other material from which they are derived. Coverage of perfume containers is substantially expanded and linked to other parts of the book.