Tous les genres [ont bons entre les main: d'un habile homme, difent les gens fuperficiels: gardons-nous d'adopter cette erreur.
Over the last five years, corporations and individuals have given more money, more often, to charitable organizations than ever before. What could possibly be the downside to inhabiting a golden age of gift-giving? That question lies at the heart of Timothy Campbell's account of contemporary giving and its social forms. In a milieu where gift-giving dominates, nearly everything given and received becomes the subject of a calculus-gifts from God, from benefactors, from those who have. Is there another way to conceive of generosity? What would giving and receiving without gifts look like?A lucid and imaginative intervention in both European philosophy and film theory, The Techne of Giving investigates how we hold the objects of daily life-indeed, how we hold ourselves-in relation to neoliberal forms of gift-giving. Even as instrumentalism permeates giving, Campbell articulates a resistant techne locatable in forms of generosity that fail to coincide with biopower's assertion that the only gifts that count are those given and received. Moving between visual studies, Winnicottian psychoanalysis, Foucauldian biopower, and apparatus theory, Campbell makes a case for how to give and receive without giving gifts. In the conversation between political philosophy and classic Italian films by Visconti, Rossellini, and Antonioni, the potential emerges of a generous form of life that can cross between the visible and invisible, the fated and the free.
At length a murmur like the winds that break Into green waves the prairie' s grassy lake, Deepened and swelled to music clear and loud.
We must remember that the saints who had died for their faith in Christ were brought close to the people through oral tradition and legendary chronicles at a period when Christians — with the exception of the very learned — had not the Gospel to study， and could scarcely realise a nearness to Him， concerning whose nature they were hopelessly puz zled by the wrangling of the schoolmen.
The object of my course of Cantor Lectures was to endeavour to lead the public to think more about the artistic furnishing of their houses, to show that good art could be combined with comfort and moderate expense, and that the better and more artistic decora tion and furniture of modern houses could be combined with fitness, comfort, and common-sense, without fol lowing the clap-trap conventionalities and senseless eccentricities, which have gone out to the world under the grossly mistaken, or rather misapplied, denomina tion of high art.'
W. H. De B. Nelson is the editor of the International Studio; a painter， and a lecturer on art. Alfred Stieglitz is the editor and publisher of Camera Work， and the leading spirit of At 291 Fifth Avenue the pio neer work for the recognition of modern art in America was begun in 1906. Dr. John Weichsel is the President of the People's Art Guild， the largest enterprise of its kind in the world. Willard Huntington Wright is the art critic of the Forum， and contributing art critic of the International Studio. He is the author of Modern Painting: Its Tendency and Meaning.
The aim of this book is to furnish students with a new and reliable working-text on the art of debate, complete in every detail, yet without a single page of padding. This work is the product of the author's twenty years' experience with debating activities, both in the East and in the middle-west, first as a school and college debater, and then as coach, critic, judge, and teacher of the subject. During all, these years, he has sought new methods of ex plaining and applying old principles. These methods he has tested in the class room and with college debating teams, and the success that has followed their application has led him to put them into permanent form. This book is unique, not only in its detailed treatment of various subjects, but in its general plan and arrangement. Part I aims to provide the student at the outset with a firm grasp of beginning principles, so that he may begin at once the intelligent practice of debate in conjunction with his study of the theory. Part II makes the student familiar with all the instruments of proof before he is expected to handle them in the difficult and highly technical process of analyzing a problem to find the issues. The treatment of beginning principles in Part I has enabled the student, through actual debating practice, to appreciate the value of these minute details in proof.
A large part of the contents of this book is based on material originally prepared for students of argumentation at Harvard College and the Uni versity of Pennsylvania. The interest lately de veloped in the practice of formal debate, together with the interest in general debate which is always found in democratic communities, has suggested that the discussion of such a subject, revised so as to meet the needs of others besides college stu dents, may be of service to various kinds of readers. In its present form, then, the book is designed'to be helpful to those interested in any form of de bate.
This is in no sense a law book. The general reader cares little for lawyers and their dry rules of law, or the prosaic forms of practice and procedure in our courts. Everybody, however, is interested in the drama of a great trial, where the property, reputation, liberty, or life of a human being is often at stake. This has been strikingly exemplified recently by the great interest taken in the trial of Madame Steinheil in France, accounts of which were published in all the leading newspapers of the world. The Tichborne case, the Beecher trial, the Parnell inquiry, the Dreyfus case, and countless others are still fresh in the memory as further illustrations of the in tense interest taken throughout the civilized world in arriving at the truth or falsity of any important legal controversy.
1577-1640 rubens， pierre — paul 8a femme elisabeth fourment ET ses enfants portrait OF elizabeth fourment， \vith t\vo OF her children.
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