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The inspiration behind the Emmy Award–winning HBO film Gia with Angelina Jolie, this “vivid…exhaustive” (The New York Times Book Review) account of the iconic and tragic life, career, and legacy of supermodel Gia Carangi features a new afterword by the author. At seventeen, Gia Carangi was working the counter at her father’s Philadelphia luncheonette. Within a year, she was one of the world’s top models, gracing the covers of Cosmopolitan and Vogue, partying at Studio 54, and redefining the fashion industry’s standard of beauty. But behind the glitz and fame, Gia was a young woman in pain, desperate for her mother’s approval and facing a drug addiction that quickly spun out of control. With dizzying speed, she went from $10,000-a-day fashion shoots to using drugs on the streets of New York and Atlantic City before finally being blackballed from modeling. At twenty-six, Gia once again made history as one of the first famous women to die of AIDS. This “chilling tale” (The Boston Globe), based on hundreds of interviews with friends, family, lovers, and fashionistas (the term author Stephen Fried coined for her industry colleagues), is comprehensively explored in this unputdownable biography that will introduce Gia to a new generation. It is also a powerful exploration of our society’s views of beauty and sexuality, fame and objectification, mothers and daughters, love and death.
"Jackson Mac Low's poetry and prose exceeds narrow definitions of artists by movements or poets by style. His work began with and returned to timeless subjects such as children, animals, love, war, death, and God, diverging at points into rigorously imposed structures, systems, and chance operations in an effort to suppress the ego in his art. At one point, embarrassed by his depth of feeling, Mac Low confesses to being an 'existential poet,' a declaration that the title of the poem A Lack of Balance But Not Fatal contradicts with modest and generous humor. This is an important and often very moving anthology of Mac Low's thought, at the same time as it reflects the preoccupations of his generation and ranges over a wide variety of approaches to writing and art making. Thing of Beauty is a "manifesto," the term Mac Low would use to describe expressions of personal truth; and his are beautiful."—Kristine Stiles, Professor of Art History, Duke University "In this generous selection of Jackson Mac Low's work, we can see, first hand, the poet's profound understanding of the physics of language and his exuberant articulation of the sounds of words in unpredictable motions. The multiplicity of Mac Low's forms and his rejection of any hierarchy among the forms of poetry (objective and subjective, expository or nonrepresentational, lyric and epic), along with his refusal to identify poetic composition with a characteristic 'voice' of the poet and his rejection of traditional aesthetic standards of beauty, are among the chief marks of his iconoclastic genius. Mac Low's magnificent and multidimensional poems open vast expanses for the imagination to inhabit."—Charles Bernstein "This is one of the great watershed events in recent publishing history. Mac Low's reputation has exploded on the poetry scene since his death."—Hannah Higgins, author of Fluxus Experience
The daily lives of ordinary people are replete with objects, common things used in commonplace settings. These objects are our constant companions in life. As such, writes Soetsu Yanagi, they should be made with care and built to last, treated with respect and even affection. They should be natural and simple, sturdy and safe - the aesthetic result of wholeheartedly fulfilling utilitarian needs. They should, in short, be things of beauty. In an age of feeble and ugly machine-made things, these essays call for us to deepen and transform our relationship with the objects that surround us. Inspired by the work of the simple, humble craftsmen Yanagi encountered during his lifelong travels through Japan and Korea, they are an earnest defence of modest, honest, handcrafted things - from traditional teacups to jars to cloth and paper. Objects like these exemplify the enduring appeal of simplicity and function: the beauty of everyday things.
Have we become beauty-blind? For two decades or more in the humanities, various political arguments have been put forward against beauty: that it distracts us from more important issues; that it is the handmaiden of privilege; and that it masks political interests. In On Beauty and Being Just Elaine Scarry not only defends beauty from the political arguments against it but also argues that beauty does indeed press us toward a greater concern for justice. Taking inspiration from writers and thinkers as diverse as Homer, Plato, Marcel Proust, Simone Weil, and Iris Murdoch as well as her own experiences, Scarry offers up an elegant, passionate manifesto for the revival of beauty in our intellectual work as well as our homes, museums, and classrooms. Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a "surfeit of aliveness." In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness. Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.
Part lyric essay, part prose poetry, Where Things Touch grapples with the manifold meanings and possibilities of beauty. Drawing on her experiences as a physician-in-training, Orang considers clinical encounters and how they relate to the concept and very idea of beauty. Such considerations lead her to questions about intimacy, queerness, home, memory, love, and other aspects of human existence. Throughout, beauty is ultimately imagined as something inextricably tied to care: the care of lovers, of patients, of art and literature and the various non-human worlds that surround us. Eloquent and meditative in its approach, beauty, here, beyond base expectations of frivolity and superficiality, is conceived of as a thing to recover. Where Things Touch is an exploration of an essential human pleasure, a necessary freedom by which to challenge what we know of ourselves and the world we inhabit.
For nearly a century British potters have invigorated traditional ceramic forms by developing or reinventing techniques, materials, and means of display. Things of Beauty Growing explores major typologies of the vessel--such as bowl, vase, and charger--that have defined studio ceramics since the early 20th century. It places British studio pottery within the context of objects from Europe, Japan, and Korea and presents essays by an international team of scholars and experts. The book highlights the objects themselves, including new works by Adam Buick, Halima Cassell, and Nao Matsunago, featured alongside works by William Staite Murray, Lucie Rie, Edmund de Waal, and others, many published here for the first time. Rounding out the beautifully illustrated volume is an interview with renowned collector John Driscoll and approximately fifty illustrated short biographies of significant makers. Published in association with the Yale Center for British Art and the Fitzwilliam Museum, Cambridge Exhibition Schedule: Yale Center for British Art, New Haven (09/14/17-12/03/17) The Fitzwilliam Museum, Cambridge (03/20/18-06/18/18)
A book of poetic essays written in English, Kahlil Gibran's The Prophet is full of religious inspirations. With the twelve illustrations drawn by the author himself, the book took more than eleven years to be formulated and perfected and is Gibran's best-known work. It represents the height of his literary career as he came to be noted as ‘the Bard of Washington Street.’ Captivating and vivified with feeling, The Prophet has been translated into forty languages throughout the world, and is considered the most widely read book of the twentieth century. Its first edition of 1300 copies sold out within a month.
Winner of the Man Booker Prize Named a Best Book of the Century by The New York Times Book Review International Bestseller From acclaimed author Alan Hollinghurst, a sweeping novel about class, sex, and money during four extraordinary years of change and tragedy. In the summer of 1983, twenty-year-old Nick Guest moves into an attic room in the Notting Hill home of the Feddens: conservative Member of Parliament Gerald, his wealthy wife Rachel, and their two children, Toby-whom Nick had idolized at Oxford-and Catherine, who is highly critical of her family's assumptions and ambitions. As the boom years of the eighties unfold, Nick, an innocent in the world of politics and money, finds his life altered by the rising fortunes of this glamorous family. His two vividly contrasting love affairs, one with a young black man who works as a clerk and one with a Lebanese millionaire, dramatize the dangers and rewards of his own private pursuit of beauty, a pursuit as compelling to Nick as the desire for power and riches among his friends. Richly textured, emotionally charged, disarmingly comic, this is a major work by one of our finest writers.