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This book is about a fundamental re-organization of language which is used, in regard to describing the stable many-(but-few)-body spectral-orbital systems, from nuclei to planetary systems, which, now, have no valid descriptions, based on, what are called, the laws of physics. The current description, based on partial differential equations, results in: non-linear, non-commutative, and an improperly identified and improperly used random basis for physical description. The result is that the properties of stability, which are observed for these systems, have not been describable in such a context. On the other hand, the already identified math patterns of geometrization, along with E Noethers symmetries, which allow the stable set of discrete hyperbolic shapes to be identified with energy-spaces, as well as the many-dimensional structure in which these stable shapes (of any size) are defined, as identified by D Coxeter, are patterns which can be used to form a new context for physical description. This is what this book is about, forming such a new context, wherein, the stable many-(but-few)-body spectral system is formulated and accurately described, ie it is solved. In such a new context, partial differential equations come to play a subordinate role to stable shapes and their relation to defining a finite stable spectral-set, which is a property of the, new, many-dimensional containment-set, a property which determines which stable patterns can exist. But there are many social forces which oppose such a discussion. These opposing social forces are also discussed.t
In this stunning reassessment, Nicole T. C. Chiang argues that the famous Qianlong art collection is really ‘the collection of the imperial household in the Qianlong reign’. The distinction is significant because it strips away the modern, Eurocentric preconceptions that have led scholars to misconstrue the size of the collection, the role of nationalism in its formation, the distinction between art and artifact, and the actual involvement of the emperor in assembling the collection. No one interested in Chinese art will be able to ignore the ramifications of this important study. Emperor Qianlong’s Hidden Treasures: Reconsidering the Collection of the Qing Imperial Household argues that the size of the collection was actually smaller than previously stated. Moreover, the idea that the collection put the whole of the empire on display (and thereby promoted political unity) does not square with the reality that most of the collection was hidden away. Instead, the collection was primarily for the emperor’s gaze alone. Chiang further explains that the collection was largely the product of work done by many specialists working at the Qianlong court, noting that the emperor often assumed a more supervisory role. Preliminary drawings, patterns, models, and prototypes of the items made in the imperial workshops also formed an important part of the collection, as they served to establish standardized models used to run the imperial household. The collection was thus both broader and narrower than previously stated. ‘Chiang has identified many misguided assumptions about the Qing imperial collection. In their place, she proposes a new definition of an imperial collection that does not give primacy to art objects. This bold revisionist thesis may be controversial, but it is important and deserves to be read widely for this exact reason.’ —Dorothy Ko, Barnard College, Columbia University ‘Chiang makes a new argument which will contribute to the literature on Qing imperial art. She shows that a distinction should be made between the Qianlong emperor’s activities in commissioning objects from the palace workshop and his activities in accumulating, assessing, and cataloguing objects that went into what she calls the “imperial household collection.” This work will attract wide attention from scholars in art history.’ —Evelyn S. Rawski, University of Pittsburgh
The extraordinary manuscripts of Timbuktu: invaluable historical documents, objects of tremendous beauty, and a testament to a great center of learning and civilization. For centuries, trading caravans made epic journeys across the Saharan sands to reach the markets of the legendary city of Timbuktu, where they traded salt, gold, slaves, textiles—and books. By the mid-fifteenth century, Timbuktu had become a major center of Islamic literary culture and scholarship. The city's libraries were repositories of all the world's learning, housing not only works by Arab and Islamic writers but also volumes from the classical Greek and Roman worlds and studies by contemporary scholars. The astonishing manuscripts of Timbuktu form the lavish visual heart of this book. Beautifully graphic, occasionally decorated, these exquisite artifacts reveal great craftsmanship as well as learning. All were written in the Arabic script, but not all are in Arabic, for they also feature a range of local African languages. Aside from scholarly works, the surviving manuscripts include a wealth of correspondence between rulers, advisers, and merchants on subjects as various as taxation, commerce, marriage, divorce, adoption, breastfeeding, and prostitution, providing a vivid insight into the ordinary life and values of the day.
The tale begins over three-hundred years ago, when the Fair People—the goblins, fairies, dragons, and other fabled and fantastic creatures of a dozen lands—fled the Old World for the New, seeking haven from the ways of Man. With them came their precious jewels: diamonds, rubies, emeralds, pearls... But then the Fair People vanished, taking with them their twelve fabulous treasures. And they remained hidden until now... Across North America, these twelve treasures, over ten-thousand dollars in precious jewels, are buried. The key to finding each can be found within the twelve full color paintings and verses of The Secret. Yet The Secret is much more than that. At long last, you can learn not only the whereabouts of the Fair People's treasure, but also the modern forms and hiding places of their descendants: the Toll Trolls, Maitre D'eamons, Elf Alphas, Tupperwerewolves, Freudian Sylphs, Culture Vultures, West Ghosts and other delightful creatures in the world around us. The Secret is a field guide to them all. Many "armchair treasure hunt" books have been published over the years, most notably Masquerade (1979) by British artist Kit Williams. Masquerade promised a jewel-encrusted golden hare to the first person to unravel the riddle that Williams cleverly hid in his art. In 1982, while everyone in Britain was still madly digging up hedgerows and pastures in search of the golden hare, The Secret: A Treasure Hunt was published in America. The previous year, author and publisher Byron Preiss had traveled to 12 locations in the continental U.S. (and possibly Canada) to secretly bury a dozen ceramic casques. Each casque contained a small key that could be redeemed for one of 12 jewels Preiss kept in a safe deposit box in New York. The key to finding the casques was to match one of 12 paintings to one of 12 poetic verses, solve the resulting riddle, and start digging. Since 1982, only two of the 12 casques have been recovered. The first was located in Grant Park, Chicago, in 1984 by a group of students. The second was unearthed in 2004 in Cleveland by two members of the Quest4Treasure forum. Preiss was killed in an auto accident in the summer of 2005, but the hunt for his casques continues.
"This spectacular illustrated book showcases rare, beautiful, idiosyncratic, and sometimes surprising works in the National Library of Medicine, the world's largest medical library. From thirteenth-century manuscripts to extravagant anatomical atlases to silent movies, pamphlets, magic lantern slides, stereograph cards, and much, much more, each item featured is a remarkable hidden treasure."--Jacket.
Wealth of an Empire tells the dramatic true story of a top-secret mission that changed the course of World War II: Great BritainÆs shipment of virtually its entire treasury across the treacherous waters of the North Atlantic to safety in the United States and Canada. Had the Germans captured or sunk the treasure-laden ships, the war could have been lost more than eighteen months before the Japanese attack on Pearl Harbor. The British government authorized this immensely risky and long-running operation not only because of the obvious danger that GermanyÆs rising militancy posed but also because of the isolationist sentiment that permeated both American society and Congress. AmericaÆs refusal to sell arms and other goods without payment up front left Britain little choice but to mount this daring operation. Only a few banking, political, and military leaders were responsible for the complicated logistical and security procedures that were designed to safeguard the transfer of both gold and financial securities to North America. Although the special shipments were initially of relatively modest value, the strategic imperative changed dramatically when Germany threatened to invade Britain in the summer of 1940. Fearing that BritainÆs wealth might fall into German hands, in an audacious yet visionary decision newly installed prime minister Winston Churchill authorized the evacuation of nearly all of BritainÆs liquid assets. Wealth of an Empire uses previously unused and unavailable original documentsùincluding those from the British National Archives, the Bank of EnglandÆs archives, the Imperial War Museum, and the Bank of CanadaÆs archivesùto shed new light on this underexplored aspect of BritainÆs wartime history.
This detailed commentary presents the gospel of matthew as a counter-narrative, showing that it is a work of resistance written from and for a minority community of disciples committed to Jesus, the agent of God's saving presence. It was written and functions to shape the identity and lifestyle of the early community of jesus' followers as an alternative community that can resist the dominant authorities both in rome and in the synagogue. The Gospel anticpates the time when Jesus will return and establish God's reign over all, including the powers in Rome.