Otros libros que te pueden interesar

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  As you like it

  William Shakespeare

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  William Shakespeare's comedy "as you like it" 
  Done as a radio play. Immerse yourself in the forest of arden where all the action happens  including usurped dukes, love sick young men, a clown, and of course an impossible love story that eventuality works itself out.

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  Clashing Minds: The Battle for...

  Merrick Ashcombe

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  Clashing Minds: The Battle for the Soul of Western Thought 
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  Fortune and Folly - The Weird...

  Sara A. H. Butler

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  Briarcliff Mansion and the land it occupies are owned by Emory University, which refers to it as its "Briarcliff Campus." Fortune and Folly, in part, illuminates the largely lost story of how the mansion, and the entire surrounding neighborhood, got its name. But in order to understand the mansion, we have to understand the man who built it. 
   
   
   
  Briarcliff Mansion once belonged to a man named Asa Candler, Jr.—also known as Buddie. The second son and namesake of Coca-Cola founder Asa Griggs Candler, Buddie was a wealthy real estate developer of great successes and greater failures. A man of big vision and bigger adventures, and a socialite whose boisterous, unapologetic personality made him both beloved and reviled in the Atlanta community. But after he passed away in 1953, his stories faded from memory, either tangled up with or overshadowed by his father. 
   
   
   
  It's no mystery why Briarcliff garners attention. It's self-consciously grandiose, built to display maximum grandeur to the neighborhood. It towers over the landscape, set far back from the road behind a filled-in, overgrown pool. Its face is stitched together where a music hall was added two years after the main house was completed, and the bricks don't quite match up. This book offers a deep-dive into the life of Asa Candler, Jr. to excavate a piece—and place—of Atlanta history.

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  Marketing tips for Creative for...

  Parshwika Bhandari

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  I am Parshwika, I have been running my online business from past 3 years as an artist, creating person in this book I am sharing everything based on my research and experience so far, I am covering free and paid marketing both, along with search based and social media platforms marketing, in depth tips, Pros, cons of each marketing methods plus sharing my own experience so hopefully it will help you too

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  Video Translation by AI - A...

  Malik LEFFAD

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  In 'Video Translation by AI: A Threat to the Film and Dubbing Industry,' the author delves deep into the seismic shifts brought about by artificial intelligence in the realms of cinema and voice-over. As groundbreaking technologies like HeyGen redefine the boundaries of video translation, this book navigates the intricate balance between innovation and tradition. Through meticulous analysis, firsthand accounts, and compelling case studies, it examines the potential risks and rewards of AI's growing influence. From the apprehensions of actors and dubbing artists to the broader implications for global storytelling, this book is a definitive guide to an industry in flux. Essential reading for film buffs, technologists, and industry insiders.

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  Ad Reinhardt

  Robert Storr

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  How can we interpret the work of contemporary artists? Focal Points is a new book series of essays, articles and reviews by acclaimed curator and critic Robert Storr. Expertly edited by art historian and curator Francesca Pietropaolo, and richly illustrated, it lends Storr’s illuminating insights into an artist’s practice and way of thinking across recent decades. Brilliantly scholarly, accessible and engaging, Focal Points offers fresh interpretations of the varied territory of modern and contemporary art. This second volume considers the work of American abstract painter Ad Reinhardt (1913–1967). Active in New York for over three decades, Reinhardt was part of the group of artists who became known as Abstract Expressionists, and he made work that would prove influential to the younger generation of Minimal and Conceptual artists. He believed in a philosophy of what he called ‘art-as-art’ and used his writing and satirical cartoons to advocate for abstract art. As he famously wrote in 1962: ‘Art is art-as-art and everything else is everything else.’ In this volume, Storr discusses Reinhardt’s painting, his comics, and his slide lecture series or ‘non-happenings, ’ as the artist called them.

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