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Oordink die waarheid en doel van Jesus se dood en opstanding.
Terwyl hy herstel van ’n wond wat hy in die Eerste Węreldoorlog opgedoen het, ontdek ’n soldaat wat in die Midde-Ooste gestasioneer is een van die mees opspraakwekkende argeologiese vondste in eeue. Omstandighede keer egter dat hy dit verder kan ondersoek. Maar een aand in 1920 maak hy die houtkissie oop en ontdek binne-in ’n stuk perkament, drie spykers en die beentjies van ’n man se regterhand. En so ontvou die verhaal van Scipio Martialis, ’n Romeinse soldaat uit Christus se tyd; die verhaal van die man wat vir Jesus Christus gekruisig het.
Die hand wat die spykers ingeslaan het voer jou mee op ’n man se aangrypende reis deur die belangrikste gebeurtenis in die geskiedenis van die węreld. Skrywer J. Fletcher Ray teken Jerusalem in die eerste eeu na Christus en vertel hoe die geboorte, lewe en dood van Jesus gewone mense deel gemaak het van God se groot plan vir die verlossing van die mensdom. Elkeen wat daardie Vrydag op Golgota was, kon nie anders as om geraak te word deur Jesus se dood nie. Veral nie die Romeinse soldaat wat die spykers in Jesus se hande en voete moes inslaan nie.
Ook beskikbaar in Engels onder die titel The Hand that Drove the Nails
A trailblazer for women photographers in the South, North Carolina's Bayard Wootten (1875-1959) overcame economic hardship, gender discrimination, and the obscurity of a small-town upbringing to become the state's most significant early female photographer. This advocate of equality for women combined an artistic vision of photography with determination and a love of adventure to forge a distinguished career spanning half a century. Originally trained as an artist, Wootten worked in photography's pictorial tradition, emphasizing artistic effect in her images at a time when realistic and documentary photography increasingly dominated the medium. Traveling throughout North Carolina and surrounding states, she turned the artistry of her eye and lens on the people and places she encountered. Having opened a studio in her hometown of New Bern in 1905, Wootten moved to Chapel Hill in 1928, where her clients included the University of North Carolina. Between 1932 and 1941, she also provided photographs for six books--including Cabins in the Laurel, Old Homes and Gardens of North Carolina, and Charleston: Azaleas and Old Bricks--lectured extensively, and exhibited her photographs as far away as New York and Massachusetts. Light and Air features 190 illustrations, including 136 duotone reproductions of Wootten's photographs taken in North Carolina, South Carolina, Alabama, and Tennessee--many of which have never before been published. Though she was an accomplished landscape and architectural photographer, some of Wootten's most notable images were the portraits she crafted of black and white Americans in the lower reaches of society, working people whom other photographers often ignored. These images are perhaps her most enduring legacy.
This book is the winner of the Beatrice White Prize, awarded annually for outstanding scholarly work in English literature before 1590, for 2001.Drama and performance in Ireland call to mind the present rather than the ancient past, yet Irish dramatic and performative traditions were far richer before the coming of Cromwell than has generally been appreciated. This book aims to repair a deficit in our knowledge. It draws together all known documentary evidence for drama and performance in Ireland up until the closure of the first public theatre in Dublin in 1641. Historical documents, many never before published, are given pride of place, but a generous selection of pertinent literary sources has been included among the Appendices. A historical overview of Irish drama and performance prefaces the record collection, and descriptions are given of every manuscript and early printed book from which the records featuring in the book have been taken, as well as translations of items recorded in Irish, Latin or French. The book thus provides an invaluable database for a range of disciplines, from students of Irish culture to social historians, theatre historians and musicologists.BR>ALAN J. FLETCHER is Lecturer in English Language and medieval Literature, University College Dublin.
Writers are like other people, except for at least one important difference. Other people have daily thoughts and feelings, notice this sky or that smell, but they don't do much about it.
Not writers. Writers react. And writers need a place to record those reactions. That's what a writer's notebook is for. It gives you a place to write down what makes you angry or sad or amazed, to write down what you noticed and don't want to forget. . . .
Between spring and winter 1909, Picasso executed more than sixty portraits of his companion, Fernande Olivier. These works--produced in a variety of formats and mediums--exhibit a range of artistic approaches dedicated to a single subject that stands out in the history of portraiture. Even more significant, this series of works coincided with the invention of Cubism. Published to accompany a major exhibition originating at the National Gallery of Art, Washington, this richly illustrated volume illuminates Picasso's radical reformulation of human physiognomy.
Containing eighty-two color illustrations and sixty-eight duotones, the catalogue explores the Fernande portraits and related works as a single oeuvre culminating in the magnificent "Head of a Woman (Fernande)"--one of Picasso's rare pre-1912 excursions into sculpture. By so doing, it allows us to examine Picasso's process in an unprecedented fashion. What emerges is a new picture of the artist pursuing his subject with obsessive repetition and struggling to resolve artistic problems during a time of crisis in his work. Also included are previously unpublished studio photographs that offer further insight into the conceptual nature of the artist's process. The text narrates the internal development of the Fernande portrait series, situates it within the broader history of representation, and considers the powerful impact of Cezanne on Picasso's work during this period.
Seizing a single extended moment in the early history of Cubism, this catalogue reveals Cubism's great achievement--its startling invention, its remarkable expressive power, and its profound formal and psychological implications for modern art.
National Gallery of Art, Washington
Nasher Sculpture Garden, Dallas
Free-verse text describes the transition from day to night and from night to day, revealing the magic in these everyday moments.
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