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  Wisdom of the East The: The...

  Battiscombe G. Gunn

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  "The Instruction of Ptahhotep and The Instruction of Ke'gemni" stand as remarkable testimonies to the enduring wisdom and ethical insights of ancient Egyptian civilization. These texts, attributed to viziers Ptahhotep and Ke'gemni respectively, provide invaluable guidance on navigating the complexities of life with integrity, wisdom, and virtue. Dating back to the Fifth Dynasty of Egypt, around 2400 BCE, these works are among the oldest surviving examples of wisdom literature in human history. Through a series of moral teachings, aphorisms, and advice passed down from generation to generation, readers are offered profound insights into the social, ethical, and spiritual values of ancient Egyptian society. The teachings encompass a wide range of topics, including the importance of humility, the pursuit of knowledge, the value of integrity in leadership, and the significance of familial and societal bonds. Each instruction serves as a timeless reminder of the universal principles that underpin a flourishing and harmonious life."The Instruction of Ptahhotep" is particularly renowned for its emphasis on wisdom acquired through experience and humility, as Ptahhotep imparts his knowledge to his son in a spirit of paternal care and guidance. Meanwhile, "The Instruction of Ke'gemni" similarly offers invaluable lessons on ethical conduct and leadership, drawing from the experiences and wisdom of another esteemed vizier of ancient Egypt. Together, these texts provide a comprehensive ethical framework for individuals seeking to lead a virtuous and meaningful life, offering practical guidance that remains relevant and inspiring across cultures and millennia.As readers delve into these ancient teachings, they are transported back in time to a civilization that valued wisdom, integrity, and moral excellence above all else. Despite the vast temporal and cultural distance that separates modern readers from ancient Egypt, the wisdom contained within these texts transcends boundaries of time and space, resonating with universal truths about human nature and the human condition. Whether pondering the intricacies of personal relationships, reflecting on the responsibilities of leadership, or contemplating the pursuit of spiritual enlightenment, readers will find in these ancient teachings a source of timeless wisdom and guidance that continues to illuminate the path toward a life of virtue and fulfillment.

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  Dancing with Muddy - Muddy...

  Jerry Portnoy

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  Jerry Portnoy grew up in Chicago hearing the blues being played outside his father's rug store on famed Maxwell Street during the late 1940s and early '50s. After dropping out of college, he became immersed in the colorful world of pool hustlers as he managed the largest pool hall in Chicago. During a stint as a paratrooper early in the Vietnam war, he applied for discharge as a conscientious objector, and lived in San Francisco during 1967's "summer of love." While bumming around Europe the following year, Portnoy heard the blues again on a record by Sonny Boy Williamson and became obsessed with mastering blues harmonica.He returned to Chicago and in 1974 he was playing in small Black clubs at night when Muddy Waters plucked him from his day job at Cook County Jail to fill the harmonica chair in his fabled band. Eric Clapton followed suit in 1991. In a career that took him from ghetto taverns to the White House and the Royal Albert Hall, he went from the raggedy vans and cheap roadside motels of the blues world to the private jets and five-star hotels of the rock world. Between those two very different gigs was a struggle to survive the vagaries of the music business and the pressures of life on the road. In a remarkable life, he also assisted in surgery, lodged in a Moroccan house of ill repute, and dined at Giorgio Armani's. 

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  Stolen Smuggled Sold - On the...

  Nancy Moses

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   “A riveting look at the backstory of what’s in the display cases at your local museum. The author profiles seven historic objects with checkered pasts.” —Library Journal   There are many books about museum heists, Holocaust artwork, insider theft, trafficking in antiquities, and stolen Native American objects. Now, there’s finally a book for the general public that covers the entire terrain.   Stolen, Smuggled, Sold features seven vivid and true stories in which the reader joins the author as she uncovers a cultural treasure and follows its often-convoluted trail. Along the way author and reader encounter a cast of fascinating characters from the underbelly of the cultural world: unscrupulous grave robbers, sinister middlemen, ruthless art dealers, venal Nazis, canny lawyers, valiant academics, unstoppable investigative reporters, unwitting curators, and dedicated government officials. Stories include Gustav Klimt’s Portrait of Adele Bloch Bauer 1, the typset manuscript for Pearl Buck’s The Good Earth, a ceremonial Ghost Dance shirt from the massacre at Wounded Knee, the theft of 4,800 historical audio discs by a top official at the National Archives, a missing original copy of The Bill of Rights, the mummy of Ramses I, and an ancient treasure from Iraq.   While each story is fascinating in and of itself, together they address one of the hottest issues in the museum world: how to deal with the millions of items that have breaks in the chain of ownership, suspicious ownership records, or no provenance at all. The issue of ownership touches on professional practices, international protocols, and national laws. It’s a financial issue since the illicit trade in antiquities and cultural items generates as much as $4 billion to $8 billion a year.  

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  Stan Brakhage the realm buster

  Esther Leslie, Marco Lori

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  Stan Brakhage's body of work counts as one of the most important within post-war avant-garde cinema, and yet it has rarely been given the attention it deserves. Over the years, though, diverse and original reflections have developed, distancing his figure little by little from critical categories. This collection of newly commissioned essays, plus some important reprinted work, queries some of the consensus on Brakhage's films. In particular, many of these essays revolve around the controversial issues of representation and perception.This project sets out from the assumption that Brakhage's art is articulated primarily through opposing tensions, which donate his figure and films an extraordinary depth, even as they evince fleetingness, elusivity and paradoxicality. This collection aims not only to clarify aspects of Brakhage's art, but also to show how his work is involved in a constant mediation between antinomies and opposites. At the same time, his art presents a multifaceted object endlessly posing new questions to the viewer, for which no point of entry or perspective is preferred in respect to the others. Acknowledging this, this volume hopes that the experience of his films will be revitalised.Featuring topics as diverse as the technical and semantic ambiguity of blacks, the fissures in mimetic representation of the 'it' within the 'itself' of an image, the film-maker as practical psychologist through cognitive theories, the critique of ocularcentrism by mingling sight with other senses such as touch, films that can actually philosophise in a Wittgensteinian way, political guilt and collusion in aesthetic forms, a disjunctive, reflexive, and phenomenological temporality realising Deleuze's image-time, and the echoes of Ezra Pound and pneumophantasmology in the quest of art as spiritual revelation; this book addresses not only scholars, but also is a thorough and thought-provoking introduction for the uninitiated. Contributors include: Nicky Hamlyn, Peter Mudie, Paul Taberham, Gareth Evans, Rebecca A. Sheehan, Christina Chalmers, Stephen Mooney and Marco Lori.

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  Alfred Hitchcock’s Legendary...

  Editors Charles River

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  Considering that her film career lasted just six years, it would seem as though the reputation of Grace Kelly far outweighs her actual output. Indeed, from the time of her arrival in Hollywood in 1951 through her final film, High Society, in 1956, Kelly acted in just 11 films, leaving viewers to wonder whether Kelly was still in the beginning of her career or whether High Society was a proper culmination to an extraordinarily brief stay in the film industry? Ultimately, it is might be most accurate to state that Kelly was still in the prime of her career, but it’s unclear what direction her career would have taken, as well as who inherited the void she left. 
  Ingrid Bergman’s fame cannot be doubted, but the international quality of her career has prevented most people from gaining a complete understanding of her filmography. Moreover, the immense success of her most famous films obscured her other achievements; one of Bergman’s persistent lamentations late in her career was that even though she appeared in other films she deemed more significant, the only film of hers that people wanted to discuss was Casablanca.  
  Although Fontaine and de Havilland would make history by becoming the only sisters to both win an Academy Award for Best Actress, that anecdote was just one of the various stories about the siblings that has shed light on their notoriously contentious and complicated relationship. As Fontaine once put it, “I married first, won the Oscar before Olivia did, and if I die first, she'll undoubtedly be livid because I beat her to it!"  
  Kim Novak’s most famous role was as one of Alfred Hitchcock’s legendary “icy blondes” in Vertigo (1958), beguiling Jimmy Stewart’s character to the point of madness in what is widely considered one of the greatest films ever made. The girl who originally wanted to be an artist reached the upper echelon of Hollywood itself before she had even turned 30.

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  The Mother Artist - Portraits of...

  Catherine Ricketts

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  Few women artists feature prominently in the history of art, and even fewer who are mothers. What can we learn about ambition, limitation, and creativity from women who persist in doing both? 
   
   
   
  Forged in the stress of early motherhood, The Mother Artist explores the fraught yet generative ties between caregiving and creative practice. As a young mother working at a museum, essayist Catherine Ricketts began asking questions about the making of motherhood and the making of art. Now, with incantatory prose and an intuitive gaze, she twines intimate meditations on parenthood with studies of the work and lives of painters, writers, dancers, musicians, and other creatives. Ricketts takes listeners through the studios of mother artists, placing us in the company of women from the past and the present who persevere in both art and caregiving. We encounter Senga Nengudi's sculptures, which celebrate the pregnant body, and Toni Morrison's powerful writing on childbirth. We behold Joan Didion's meditations on maternal grief and Alice Neel's portraits of mothers and babies. And we observe the ambition of sculptor Ruth Asawa, the activism of printmaker Elizabeth Catlett, and the constancy of writer Madeleine L'Engle. This book is for mothers who aspire to make art, anyone eager to discover the stories of visionary women, and all who long for a revolution of tenderness.

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