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The first multidisciplinary analysis of one of the most impactful and popular contemporary artworks of recent years.In 1999, a short video of a solitary boy kicking an empty bottle up a hill in Mexico City became the first instalment of Children’s Games, a series of works by artist Francis Alÿs (b. Antwerp, 1959). The ongoing project, which now numbers around thirty-five works, has gradually given shape to an extensive collection of videos of children at play. For almost twenty-five years, Alÿs and his collaborators Félix Blume, Julien Devaux, and Rafael Ortega have been travelling around the world to document the distinctive ways in which children interact with each other and their physical environment. They have gone from remote villages in the Democratic Republic of the Congo, Afghanistan, Venezuela, and Nepal to the mountains of Switzerland and metropoles like Hong Kong and Paris, but have also visited the war-torn city of Mosul in Iraq, the border between Mexico and the United States, and the strait of Gibraltar that divides Africa and Europe. The resulting images are standing proof of the seriousness of play and of children’s stunning powers of resilience in the face of conflict.This volume provides a multidisciplinary perspective to the many layers of Children’s Games. It includes an interview with Francis Alÿs and Rafael Ortega, a series of essays by well-known scholars and art critics, curatorial statements, and a logbook related to the presentation of Children’s Games at the Venice Biennale of 2022.Contributors: Francis Alÿs (artist), Gerard-Jan Claes (filmmaker, artistic director of Sabzian), Tim Ingold (anthropologist, University of Aberdeen), Zeynep Kubat (art historian, curator and writer), Karen Lang (art historian, Royal Society of Arts), Rafael Ortega (artist), Rodrigo Perez de Arce (architect, Pontificia Universidad Católica de Chile), Juan Martín Pérez García (Network for the Rights of Children in Mexico (REDIM), Giulio Piovesan (journalist and photographer), John Potter (media education, University College London), Virginia Roy (curator at the University Museum of Contemporary Art of the National Autonomous University of Mexico), Stéphane Symons (professor of philosophy, KU Leuven), Hilde Teerlinck (Han Nefkens Foundation /curator of the Belgian Pavilion at the Venice Art Biennale 2022).Ebook available in Open Access.

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In this landmark text by one of the most influential philosophers of the twentieth century, Gilles Deleuze takes the paintings of Francis Bacon as his object of his study. The book presents a deep engagement with Bacon's work and the nature of art. Deleuze analyzes the distinctive innovations that came to mark Bacon's style: the isolation of the figure, the violation and deformations of the flesh, the complex use of color, the method of chance, and the use of the triptych form. Here Deleuze creates a number of his well-known concepts, such as the 'body without organs' and contrasts his own approach to painting with that of both the phenomenological and the art historical traditions. Deleuze links Bacon's work to Cezanne's notion of a 'logic' of sensation and, investigating this logic, explores Bacon's crucial relation to past painters such as Cezanne, Velasquez, and Soutine.

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In 1935 the French baritone Pierre Bernac formed a duo with the composer Francis Poulenc that became a legend throughout the world. Unprecedented in the history of music, it was the first duo in which the singer and pianist were perceived as equals. It lasted for 25 years and was a determining influence on Poulenc's vocal output: more than two-thirds of his songs were written for Bernac to sing. Bernac's general book on the French repertoire, "The Interpretation of French Song", has long been the standard and indispensable work on its subject. In "Francis Poulenc - the Man and His Songs", first published in 1977, he gives us the fruit of his long association with Poulenc, paying moving tribute to the composer both as man and musician, and providing detailed analyses of every piano-accompanied song that Poulenc wrote. Each of the 137 poems is annotated for pronunciation, with a line-for-line translation into English by Winifred Radford, who also translated the text of the book. The discussion of each song is preceded by a brief biographical note on the poet and a description of Poulenc's own attitude towards both poet and poem.Bernac aimed in this book, to pass on his personal understanding of the songs of Francis Poulenc, as well as a little of their mutual experience in interpreting and performing them. He has thereby left a unique record whose importance cannot be overestimated.

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Beginning with a summary of Francis Lieber's life, this book demonstrates that the man who introduced the study of hermeneutics to the United States, applying it to practical reason, deserves an important place in the history of American hermeneutics. Catalano examines Lieber's application to practical reason, in addition to the current state of hermeneutics in both Germany and the United States. This book is indispensable to philosophers, especially those focusing on the history of U.S. philosophy.

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Selected for the 2012 AAUP Book, Jacket and Journal Show in the category 'Scholarly Illustrated'!Awarded with 'Best Vormgegegeven Boek 2011' for the best designed book in the category business and academic publications Sam Francis. Lesson of Darkness is the second of a series of six volumes, bringing together the most important writings of Jean-François Lyotard (1924-1998) on contemporary art and artists. This second volume introduces forty-three poetical reflections and comments on the work of the well-known Californian painter Sam Francis (1923-1994). This edition reprints the English text published in 1993, which is no longer available, face to face with the previously unpublished French original. It also reproduces in full colour all forty-three paintings commented upon by Lyotard.In Lyotard's opinion ‘the work [by Sam Francis] pays homage to the visible marvel and bears witness to the visual enigma'. Lyotard discovers in these poetic reflections the subtle variety of meanings in the use of colour in Sam Francis's paintings.Photos: Van Looveren & Princen

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In the final of Maylis Besserie's Irish-French trilogy, her preoccupation with the art and lives of artists who crossed borders between France and Ireland has a fitting climax as Bacon confronts the boundaries between the real and the imagined.

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Missouri’s Virginia Minor forever changed the direction of Women’s Rights—not Susan B. Anthony, Elizabeth Cady Stanton, Lucy Stone, Carrie Chapman Catt, or any of the other so-called “marquee names” of the suffrage movement—when she and her husband, Francis, argued Minor v Happersett in 1875. Despite the negative ruling, this landmark case brought the right to vote for women to the U.S. Supreme Court for the first and only time in the seventy-two year fight for women’s suffrage in the United States.America’s Forgotten Suffragists: Virginia and Francis Minor is the first biography of these activists who had a profound impact on the suffrage movement but have largely been forgotten by history. Virginia and Francis were unique for their time in being jointly dedicated to the cause of female enfranchisement. Unlike the brief profiles available now, this book will paint a full picture of their lives, depicting their youth, married life, and their highly-lauded civilian work during the Civil War. Their early suffrage work and famous Supreme Court case will be covered in depth, along with an exploration of how it actually helped the suffrage movement by giving it a unifying direction, despite the court delivering a negative verdict. This biography will also cover Virginia and Francis’ continued fight for women’s suffrage after the case, including Virginia’s tax revolts, writings, and campaigning for the franchise in Nebraska.

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American artist Sam Francis (1923-1994) brought vivid colour and emotional intensity to Abstract Expressionism. He was described as the "most sensuous and sensitive painter of his generation" by former Guggenheim Museum director James Johnson Sweeney, and curator Howard Fox called him "one of the acknowledged masters of late-modern art." Francis's works, whether intimate or monumental in scale, make indelible impressions; the intention of the artist was to make them felt as much as seen. At the age of twenty, Francis was hospitalised for spinal tuberculosis and spent three years virtually immobilised in a body cast. For physical therapy he was given a set of watercolours, and, as he described it, he painted his way back to life. The exuberant colour and expression in his paintings celebrated his survival; his five-decade career was an energetic visual and theoretical exploration that took him around the world. Francis' idiosyncratic painting practices have long been the subject of speculation and debate among conservators and art historians. Presented here for the first time in this volume are the results of an in-depth scientific study of more than forty paintings from the late 1940s to early 1990s, which reveal new discoveries about his creative process, inventive techniques, and specially formulated paints and binders. The data provides a key to the complicated evolution of the artist's work and informs original art historical interpretations.

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The Medical Council of India (MCI) has introduced a new medical curriculum which includes a one-month foundation course at entry level to medical school. The MCI has laid emphasis on 'AETCOM' (Attitude, Ethics, and Communication) module which is a welcome step. Medical ethics will help medical students acquire knowledge of medicolegal, societal, ethical and humanitarian principles that enable them to grow in their profession and serve patients and society in a better way. Complete handbook on ethics in medicine. Includes the latest MCI Regulations on professional conduct, etiquettes and ethics. Follows the new Graduate Medical Education Regulations, 2018. All the chapters have been updated and expanded. Invaluble for the teaching and learning of medical ethics. Enables healthcare professionals to serve their patients and the society in a better way.

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In light of the fact that Francis Hutcheson (1694-1746) was one of the most influential philosophers of the Scottish Enlightenment, it is remarkable that there has never been an edition of his correspondence. Hutcheson's epistolary offerings include letters published in journals in England, Ireland, and the Netherlands. These letters and occasional writings exhibit his polemical skills in controversy, his differences with Presbyterian orthodoxy, his preoccupation with religious and intellectual liberty, and his loyalty and lasting affection for his friends. Hutcheson engaged in extensive public polemics, not least to defend his major works but also to promote other causes. These incidental writings provide valuable insight into Hutcheson's more substantial treatises. His private correspondence and such documents as his will and the declaration he made upon becoming a professor at the University of Glasgow give the reader an impression of Hutcheson's personality and his various life experiences.

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In light of the fact that Francis Hutcheson (1694-1746) was one of the most influential philosophers of the Scottish Enlightenment, it is remarkable that there has never been an edition of his correspondence. Hutcheson's epistolary offerings include letters published in journals in England, Ireland, and the Netherlands. These letters and occasional writings exhibit his polemical skills in controversy, his differences with Presbyterian orthodoxy, his preoccupation with religious and intellectual liberty, and his loyalty and lasting affection for his friends. Hutcheson engaged in extensive public polemics, not least to defend his major works but also to promote other causes. These incidental writings provide valuable insight into Hutcheson's more substantial treatises. His private correspondence and such documents as his will and the declaration he made upon becoming a professor at the University of Glasgow give the reader an impression of Hutcheson's personality and his various life experiences.

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One of the world’s preeminent Abstract Expressionists, California-born painter Sam Francis (1923-1994) first travelled to Japan in 1957, quickly established studios and residences there, and became active in a circle of avant-garde artists, writers, filmmakers, architects, and composers, including members of the nascent Gutai and Mono-ha movements. This book chronicles those connections, as well as his complex and evolving relationship with East Asian aesthetics from the 1950s through the 1990s. From the very first exhibitions Francis had in Tokyo, critics linked his evocative use of negative space with the Japanese concept of “ma”, a symbolically rich interval between objects or ideas. This shared pictorial and philosophical syntax laid the foundation for a feedback loop of mutual influence that spurred frequent collaborations between the artist and his Japanese contemporaries, extending into the realms of printmaking, ceramics, music, poetry, publishing, and performance. Written by art critic and curator Richard Speer, with a foreword by Debra Burchett-Lere, executive director/president of the Sam Francis Foundation, this is the first full-length monograph to explore an important but sometimes overlooked milieu in Post-World War II art—a dialogue between Eastern and Western sensibilities that prefigured our current era of global interconnectedness and cross-cultural exchange. Lavishly illustrated with colour plates and archival images, it is an adjunct publication for the related exhibition “Sam Francis and Japan: Emptiness Overflowing” (Los Angeles County Museum of Art, 2021), co-curated by Speer.

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Francis of Assisi is pre-eminently the saint of the Middle Ages. Owing nothing to church or school he was truly theodidact, and if he perhaps did not perceive the revolutionary bearing of his preaching, he at least always refused to be ordained priest. He divined the superiority of the spiritual priesthood. Saint Francis of Assisi (Italian: San Francesco d'Assisi), born Giovanni di Pietro di Bernardone, informally named as Francesco (1181/1182 - 3 October 1226), was an Italian Catholic friar, deacon and preacher. He founded the men's Order of Friars Minor, the women's Order of Saint Clare, the Third Order of Saint Francis and the Custody of the Holy Land. Francis is one of the most venerated religious figures in history. Pope Gregory IX canonized Francis on 16 July 1228. Along with Saint Catherine of Siena, he was designated Patron saint of Italy. He later became associated with patronage of animals and the natural environment, and it became customary for Catholic and Anglican churches to hold ceremonies blessing animals on his feast day of 4 October. He is often remembered as the patron saint of animals. In 1219, he went to Egypt in an attempt to convert the Sultan to put an end to the conflict of the Crusades. By this point, the Franciscan Order had grown to such an extent that its primitive organizational structure was no longer sufficient. He returned to Italy to organize the Order. Once his community was authorized by the Pope, he withdrew increasingly from external affairs. Francis is also known for his love of the Eucharist. In 1223, Francis arranged for the first Christmas live nativity scene. According to Christian tradition, in 1224 he received the stigmata during the apparition of Seraphic angels in a religious ecstasy making him the first recorded person in Christian history to bear the wounds of Christ's Passion. He died during the evening hours of 3 October 1226, while listening to a reading he had requested of Psalm 142.

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A new selection of letters, statements and interviews reveal the preoccupations, thoughts and ideas of Francis Bacon, one of the 20th century's most influential and important artists. The documents selected for Francis Bacon: A Self-Portrait in Words illustrate Bacon's sharp wit and ability to express complex ideas in highly personal, memorable language. Included here are not only letters to friends, patrons and fellow artists, but also intriguing notes and lists of paintings. They often come with a sketch as an aide-mémoire or an injunction to himself as he worked in the studio, and many have only come to light since his death. Bacon's letters mirror and reveal his dominant preoccupations at different points throughout his long career. Most of Bacon's letters have never been published and include several that he wrote to the author. Particularly intriguing is the record of a dream that he jotted down, outlining impossibly beautiful paintings he had conjured up in his sleep. To

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Told for the first time in graphic novel form, the story of Francis Bacon’s life is as complex, colorful, and highly charged as his paintings. Drawn in shades of mauve, red, yellow, and blue that distinguished his palette, these illustrations weave together a troubling but compassionate narrative, one that draws on the tragic events of Bacon’s childhood and youth, as well as reflecting the profoundly passionate yearnings of the artist he became. Separated into thematic and chronological sections the novel highlights the prevailing influences of Bacon’s life and times: his early autodidacticism and estrangement from his family; his struggles to make his way as a surrealist painter and his destruction of his early work. It traces his gradual success in postwar Europe, his powerful and often violent romantic relationships, his foray into portraiture, and his never-ending search for subject matter and meaning in his work. Alternating between full-page illustrations and smaller, captioned works, Portolano imagines not only the known details of Bacon’s biography, but also his inner life—the dreams, fears, and obsessions that were equally formidable underpinnings of his oeuvre. Woven to­gether with historical facts and figures, this graphic novel reconstructs a life as only a cartoonist could—image led, thoughtfully composed, and deeply evocative of its subject matter.

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7 Reece Mews, South Kensington, was Francis Bacon’s home and studio for over thirty years. After he died in 1992, access was granted to award-winning photographer Perry Ogden to work undisturbed for days on end to produce this riveting record of the house and its contents. He captured every part of the small building’s hidden interior: the rickety wooden staircase; the kitchen with its ‘gallery’ of Bacon works in reproduction; the bedsitting room with its bookcases piled high. In the studio itself, thirty years of inspired artistic endeavour had accumulated unchecked: the slashed, discarded canvases scattered across the floor; the brushes, rags and tins encrusted with layer upon layer of paint; the surfaces used as impromptu palettes; the last unfinished self-portrait on the easel. For some, Bacon’s studio was an heroic statement, a work of art in its own right, constructed to distil and give form to his aesthetic intentions. In this astonishing book we are invited to take an intimate and privileged look around his private space, and to gain unrivalled insights into how, why and what he painted.

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This theological study examines how Pope Francis lives out mercy in his own Petrine ministry and calls for it to be lived out by the people of God. The centerpiece of Pope Francis’s pontificate from the very first days has been his proclamation of the importance of the mercy of God. While facing global problems of climate change, terror, political destabilization, refugees, and dire poverty, the Holy Father has articulated the mission of the Church through mercy, love, and forgiveness to reveal the compassion of God for all and particularly for those most vulnerable existing on the margins of society. In this compelling study, Gill Goulding, CJ, examines for the first time the critical and determinative role of mercy in Francis’s papacy using his homilies, allocutions, encyclicals, and addresses as primary sources. Goulding traces the theme of mercy in Francis’s thought, attending to its Ignatian foundations and its Christological, Trinitarian, and ecclesiological significance for the Church today, particularly the impact of his reappropriation and elevation of the discourse of mercy on the work of the Curia in Rome. Goulding enters into dialogue with other theologians, including Romano Guardini, Walter Kasper, and Hans Urs von Balthasar, to demonstrate a continuity between Francis and his predecessors, especially Benedict XVI, in this area of mercy. In addition, Goulding argues that the influence of St. Ignatius Loyola, in particular his Spiritual Exercises, needs to be taken into account, paying special attention to Francis’s call for the practice of discernment. Throughout Pope Francis and Mercy, Goulding lays the groundwork for future research and suggests a wider appreciation of the necessary tools to enable an engagement with mercy in our contemporary world.

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This book uses the busts on the Chantrey Wall in the Ashmolean Museum to give an introduction to the remarkable career of Francis Chantrey (1781-1841), and the collection in the Ashmolean. The book charts the progress of the busts from Chantrey's workshop to a Victorian national treasure: the first monographic collection of British sculpture to become a part of a permanent museum collection. It follows the return of the busts from basement storage to their conservation and triumphant redisplay in the new building. The book begins and ends with the Chantrey Wall, one of the most photographed displays of recent years providing non-specialist readers an introduction to one of the giants of British sculpture, and one of the most important sculpture collections in the country.

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A call to reform Catholic health care ethics, inspired by the teachings of Pope Francis Since its first edition in 1948, the US Conference of Catholic Bishops’ Ethical and Religious Directives for Catholic Health Care Services (ERD) has guided Catholic institutions in the provision of health care that reflects both the healing ministry of Jesus and the Church’s understanding of human dignity. However, while the papacy of Pope Francis and the clerical sex-abuse scandal both profoundly impacted the Catholic Church, the latest edition of the ERD does not address or reflect these transformations. Now for the first time, Todd A. Salzman and Michael G. Lawler present an extended critical commentary on the 2018 ERD. They argue that it is problematic in a number of ways. First, the revised ERD continues to prioritize a rule-based over a personalist-based ethical method, with an emphasis on absolute norms that proscribe specific medical acts. Further, it does not take into account Pope Francis’s transforming ecclesiological, methodological, and anthropological visions, neither internally in Catholic health care institutions nor externally in collaborations between Catholic and non-Catholic health care institutions. Finally, the revised ERD provides no evidence that the bishops grasp how the clerical sex-abuse scandal and its cover-up have fundamentally undermined episcopal authority and credibility. Salzman and Lawler propose new ways forward for US Catholic health care ethics that prioritize human dignity as their guiding principle. As there is pluralism in Catholic definitions of human dignity, there must be pluralism in the norms and directives that facilitate realizing human dignity. Pope Francis’s emphasis on the virtues of mercy and care should move the ERD forward from a focus on absolute norms in medical ethics to a focus on virtues and principles to guide both patients and health care professionals in their discerned conscientious health care decisions.

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The portrait Bowen paints of this controversial man, Francis Bacon (1561-1626), balances the outward life and actions of Bacon with the seemingly contradictory aspects of his refined philosophical reflections. When Bacon's more notorious attributes are set in historical context, his actions seem less personally vindictive against the backdrop of an entire age seemingly devoted to the very vanity and ingenuousness with which he is so often accused. As Lord Chancellor of England, Bacon was impeached by Parliament for taking bribes in office, convicted, and banished from London an the law courts. In a prayer Bacon composed during the interval following his punishment, he reveals that the dichotomy of his existence was no more deeply felt than by himself, and he readily admits that his obligations to society were not as suited to his nature as the study of philosophy, science and law. Modem scholars hold Bacon's philosophical works, "Novum Organum", "Advancement of Learning" and "New Atlantis" as his greatest achievements. Bowen's story reveals a man whose genius it was not to immerse himself in the rigour of scientific experimentation, but to realise what questions science should ask, and thereby reach beyond the status quo and appeal to the wider imagination of his generation. In his writings, Bacon challenged established social and religious orders, raised questions about mind/body relation and the role of dreams, and foresaw the day when scientists at colleges and universities would share experimentation. It is Bacon's legacy to have gone beyond his age and, out of pure intuition, anticipate the concerns of future generations.

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This volume presents a textbook on German grammar written by Francis (Franz) Lieber in 1835. Persecuted in Germany for his revolutionary views, Lieber had immigrated from Prussia to the United States in 1827, where he spent his entire career as a distinguished scholar and author. Lieber designed his German grammar primarily for his students at South Carolina College (now the University of South Carolina), claiming that the course of thirty-four lessons would enable them «to read fluently common German prose within about twelve weeks». Although the book was never published during Lieber’s lifetime, it compares favorably with the best German grammars written in English available on the American and European markets at the time. With Lieber’s many observations on the differences between German and English and his wry comments on the advantages and beauty of the German language, the text is instructive and entertaining even to a modern reader. The editor’s introduction explores the reasons why Lieber’s grammar was shunned by publishers, based on Lieber’s correspondence with friends and publishers on both sides of the Atlantic.

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If you love Susan Mallery and Jill Shalvis, you won’t want to miss this new novel of second chances, dogs, and knitting, from the author of Pupcakes and Sit! Stay! Speak! Laid off, cheated on, mugged: what else can go wrong in Maeve Stephens’ life? So when she learns her birth mother has left her a house, a vintage VW Beetle, and a marauding cat, in the small town of Timber Creek, Washington, she packs up to discover the truth about her past.She arrives to the sight of a cheerful bulldog abandoned on her front porch, a reclusive but tempting author living next door, and a set of ready-made friends at the St. Francis Society for Wayward Pets, where women knit colorful sweaters for the dogs and cats in their care. But there’s also an undercurrent of something that doesn’t sit right with Maeve. What’s the secret (besides her!) that her mother had hidden?If Maeve is going to make Timber Creek her home, she must figure out where she fits in and unravel the truth about her past. But is she ready to be adopted again—this time, by an entire town…?

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FROM THE BESTSELLING AUTHOR OF REBECCA' ... a writer of fearless originality' GUARDIAN 'Unlike many authors of popular historical biographies, du Maurier resembled Antonia Fraser in being an indefatigable researcher' FRANCIS KING'du Maurier has no equal' SUNDAY TELEGRAPHIt wasn't until he was forty-five that Bacon's feet found the first step on that staircase, when King James I made him Solicitor-General, from where he rose through the ranks to become Lord Chancellor.Many accounts of the life of Sir Francis Bacon have been written for scholars, but du Maurier's aim was to paint a vivid portrait of this remarkable man for the common reader. In The Winding Stair, she illuminates the considerable achievements of this Renaissance man as a writer, lawyer, philosopher, scientist, and politician.To her book, she brought the same gifts of imagination and perception that made her earlier biography, Golden Lads, so immensely readable, skilfully threading into her narrative extracts from contemporary documents and from Bacon's own writings. This also sets her account of his life within a vivid contemporary framework.This is truly history made alive.

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A man’s twenty-seventh year is “critical,” according to Charles Francis Adams. And so his proved to be. Twenty-five at the start of these volumes, Adams had yet to embark on the public career that would mark him a statesman, but by their conclusion he had been drawn into the maelstrom of politics. It was an unwilling plunge, dictated by what both he and his father, John Quincy Adams, regarded as betrayal of the elder Adams by Daniel Webster and his Whigs. Once in, however, he showed himself politically adept.This diary, kept from January 1833 to June 1836 and hitherto unpublished, has elements of hidden personal drama. Through private meetings and caucuses and newspaper articles signed with pseudonyms, the younger Adams found effective means to carry on political activities in the face of dilemmas posed by his father’s public prominence, his father-in-law’s contrary persuasions, and his own preferences. He emerged with growing self-respect and solid accomplishment as political journalist—his initial vocation.The diary has fresh disclosures also about the personality of John Quincy Adams, shrewdly assessed by an observer uniquely placed to interpret domestic scenes as well as the greatly waged struggles in Washington against the Southern “slaveocracy” and “gag rules.”Colorful figures in Boston’s political and social life are finely etched in outspoken appraisals characteristic of the Adamses. The diarist shows acuteness too in comments on books, sermons, paintings, the theater, and opera.

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Translated and with an Introduction by Daniel W. Smith Afterword by Tom Conley Gilles Deleuze had several paintings by Francis Bacon hanging in his Paris apartment, and the painter’s method and style as well as his motifs of seriality, difference, and repetition influenced Deleuze’s work. This first English translation shows us one of the most original and important French philosophers of the twentieth century in intimate confrontation with one of that century’s most original and important painters. In considering Bacon, Deleuze offers implicit and explicit insights into the origins and development of his own philosophical and aesthetic ideas, ideas that represent a turning point in his intellectual trajectory. First published in French in 1981, Francis Bacon has come to be recognized as one of Deleuze’s most significant texts in aesthetics. Anticipating his work on cinema, the baroque, and literary criticism, the book can be read not only as a study of Bacon’s paintings but also as a crucial text within Deleuze’s broader philosophy of art. In it, Deleuze creates a series of philosophical concepts, each of which relates to a particular aspect of Bacon’s paintings but at the same time finds a place in the “general logic of sensation.” Illuminating Bacon’s paintings, the nonrational logic of sensation, and the act of painting itself, this work—presented in lucid and nuanced translation—also points beyond painting toward connections with other arts such as music, cinema, and literature. Francis Bacon is an indispensable entry point into the conceptual proliferation of Deleuze’s philosophy as a whole. Gilles Deleuze (1925–1995) was professor of philosophy at the University of Paris, Vincennes–St. Denis. He coauthored Anti-Oedipus and A Thousand Plateaus with Félix Guattari. These works, as well as Cinema 1, Cinema 2, The Fold, Proust and Signs, and others, are published in English by Minnesota. Daniel W. Smith teaches in the Department of Philosophy at Purdue University.

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There are many ways of following Christ – each footprint is unique. One of these, the Franciscan spiritual journey, has been tried and tested over the centuries, and the experiences of St Francis and St Clare and all those who have been inspired by their lives still resonate with us. Helen Julian CSF explores the distinctive features of their spirituality and shows how these practices can be applied to, and become part of, our daily lives. Through stories of care for creation, social justice, mission, preaching, contemplative spirituality and simple living, discover your own pathway today. ‘What’s lovely about this book is you don’t just follow Francis and Clare, but you follow their followers as well, including the story of the Franciscan revival within the Anglican Communion. This is how discipleship works. Those who follow Christ have others follow them. The imprint of their witness is magnified through other lives and inspires us to follow too.’ Stephen Cottrell

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Church, Interrupted: Havoc & Hope: The Tender Revolt of Pope Francis is a revealing portrait of Pope Francis's hopeful yet controversial efforts to recreate the Catholic Church to become, once again, a welcoming place of empathy, love, and inclusiveness. Bestselling author, Vanity Fair contributor, and papal biographer John Cornwell tells the gripping insider story of Pope Francis's bid to bring renewal and hope to a crisis-plagued Church and the world at large. With unique insights and original reporting, Cornwell reveals how Francis has persistently provoked and disrupted his stubbornly unchanging Church, purging clerical corruption and reforming entrenched institutions, while calling for action against global poverty, climate change, and racism. Cornwell argues that despite fierce opposition from traditionalist clergy and right-wing media, the pope has radically widened Catholic moral priorities, calling for mercy and compassion over rigid dogmatism. Francis, according to Cornwell, has transformed the Vatican from being a top-down centralized authority to being a spiritual service for a global Church. He has welcomed the rejected, abused, and disheartened; reached out to people of other faiths and those of none; and proved a providential spiritual leader for future generations. Highly acclaimed author John Cornwell's riveting account of the hopeful—and contentious—efforts undertaken by Pope Francis to rebuild the Catholic Church. • Well researched and brilliantly written, readers, scholars, and fans of John Cornwell will want to read his most controversial and compelling work yet. • More than a third of America's 74 million Catholics said they were contemplating departure in 2018. It is estimated that over the past twenty years, the Catholic Church has been losing $2.5 billion dollars annually in revenues, legal fees, and damages due to clerical abuse cases. The decline in church attendance, marriages, and vocations to the priesthood and sisterhood tell a story of major decline and disillusion. Cornwell showcases Pope Francis's way forward, a hopeful message that gives reinvigorated reasons to stay with the church and help be the change the new generation would like to see. • For readers within and outside Catholicism fascinated by the future and restructuring of the church, this will be a book they want to read again and again as the church continues to change and grow.

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Sir Francis Bryan was Henry VIII's most notorious ambassador and one of his closest companions. Bryan was a man of many talents; jouster, poet, rake and hell-raiser, gambler, soldier, sailor and diplomat. He served his king throughout his life and unlike many of the other men who served Henry VIII, Bryan kept his head and outlived his sovereign. This book tells the story of his life from coming to court at a young age through all his diplomatic duties to his final years in Ireland. The latest book from the best-selling author of Lady Katherine Knollys: The Unacknowledged Daughter of King Henry VIII

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A fully updated and expanded edition of the artist's first comprehensive monograph, more than a decade since its original publication Francis Alÿs examines the patterns of various urban sites before weaving his own fables into their tangled social fabric with wit, sensitivity, and an acutely personal connection to his subject matter. A scene such as a Volkswagen Beetle struggling up a hill or a man pushing a block of ice can carry a message that resonates far beyond the work's simple parameters. As Alÿs puts it, 'Sometimes doing something poetic can become political, and sometimes doing something political can become poetic.'

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The period of June 1836 to February 1840, from Charles Francis Adams’s twenty-eighth to thirty-second year, was characterized by his turn from the political activities that had occupied him for the preceding several years. The course of the Van Buren administration he had helped to elect dissatisfied him, the Massachusetts Whig leadership had earned his distrust, positions on political issues that would either echo or oppose those being vigorously espoused by his father, John Quincy Adams, he felt inhibited from avowing publicly. So confronted, Charles found occupation in preparing and expressing himself on economic matters of moment—banking and currency—and moral questions generated by the slavery issue. With increasing effectiveness he employed the lecture platform and the press for the expression of views to which he felt free to attach his name. On all these matters he found his opinions at odds with the prevailing ones held among those prominent in the Boston scene, as John Adams and John Quincy Adams had found before him. Yet, despite a sense of loneliness, so induced, his participation in the varied social life of the city has its place in the Diary.However, activities in Boston and its environs that provided a focus for the record of the preceding years give way in these volumes to wider scenes made available by train and ship. An extensive journey with his wife by way of the Hudson River and the Erie Canal to Niagara and Canada, a visit of some length and interest in Washington, and stays of lesser length in New York City are recounted.Wide and persistent reading, the theater, numismatics, and the building of a summer home in Quincy also occupied him and are fully reflected in his journal. Family tragedies are not absent from its pages. As the period comes to its close his long and distinguished labors as editor of the family’s papers had begun. A new self-assurance has become evident.

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With a new Preface by the noted writer Madeleine L'Engle, author of nearly fifty books of fiction and non-fiction, including A Wrinkle in Time. St. Francis of Assisi's ecstatic embrace of a life of poverty revolutionized Christianity even as it transformed the ethics of the West. In this luminous and lively book, St. Francis's followers preserved his legend and those of his first disciples, combining stories of miracles with convincing portraits of men who were no less human for having been touched by God."God is our home but many of us have strayed from our native land. The venerable authors of these Spiritual Classics are expert guides--may we follow their directions home."--Archbishop Desmond Tutu

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Francis Tregian owned estates in Cornwall, and held a high place in court at the beginning of the reign of Elizabeth I. He made no secret of his Catholic faith. Banished from court on trumped-up charges, he was arrested for hiding a priest, St Cuthbert Mayne, and imprisoned for 30 years. Released under James I, he died in a Jesuit hospital at St Roque, Lisbon, Portugal, and was buried standing up because he had "stood up" to Elizabeth and her heresies. Francis Tregian is much revered on the Continent, where there have been recent attempts to have him elevated to sainthood. At his place of burial there is a detailed description of how he preferred the confiscation of his estates for the defence of the Catholic Faith. This booklet details the history of Francis Tregian, and includes all known details, including "Tregian" Elizabethan music. Includes a Prayer for the Beatification of Francis Tregian as authorized by the Right Reverend Christopher Budd, Bishop of Plymouth.

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St. Francis of Assisi, beloved patron saint of animals and nature, walked extensively through the hills of central Italy throughout his life. Assisi and Rome have beckoned pilgrims for hundreds of years. Walk in their footsteps along the Way of St. Francis and enter into this renowned story. This Way of St. Francis guidebook contains all the information you need to walk the 334 mile (537 km) route bewteen Florence, Assisi and Rome, in addition to 210km of alternative and side routes. This books contains detailed topographical maps of each days walk, digital maps and GPS online. - 112 detailed stage, city and town maps - Elevation profiles - Travel information on transport and accomodation & services - Information on dozens of historic sites relevant to St Francis life . - Expert advice on walking and travel gear, packing and daily trail life.

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Introduces readers to the life and work of Pope Francis. Engaging infographics, thought-provoking discussion questions, and eye-catching photos give the reader an invaluable look into Vatican City, the Catholic Church, and the office of its current leader.

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A wide-ranging collection of quotes from the new Pope’s writings and speeches, revealing his opinions on the moral issues surrounding the Catholic Church today. Pope Francis won the hearts of Catholics all over the world when he was elected in March 2013, with his natural humility and commitment to putting those who are poor at the centre of his mission. Jorge Mario Bergoglio – the 265th successor of St Peter and the first non-European Pope in over 1200 years – has encouraged people to live simpler lives and shown the world a more compassionate face of Catholicism, bringing fresh hope for a renewal in the Church. In his own life, he has long demonstrated both his belief in simplicity and his concern for those who are poor, refusing to live in palatial accommodation during his tenure as a cardinal in Buenos Aires, riding the bus to work and even persuading the diocese to allow a group of poor missionaries to live in the official residence. ‘Pope Francis in His Own Words’ has been compiled to give Catholics and non-Catholics alike an insight into the thoughts of the new pontiff.

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Intimate access to the mind of Francis Fukuyama and his reflections on world politics, his life and career, and the evolution of his thought In his 1992 best-selling book The End of History and the Last Man, American political scientist Francis Fukuyama argued that the dominance of liberal democracy marked the end of humanity’s political and ideological development. Thirty years later, with populism on the rise and the number of liberal democracies decreasing worldwide, Fukuyama revisits his classic thesis. A series of in-depth interviews between Fukuyama and editor Mathilde Fasting, After the End of History offers a wide-ranging analysis of liberal democracy today. Drawing on Fukuyama’s work on identity, biotechnology, and political order, the book provides essential insight into the rise of authoritarianism and the greatest threats faced by democracy in our present world. Diving into topics like the surprise election of Donald Trump, the destruction of social and political norms, and the rise of China, Fukuyama deftly explains the plight of liberal democracy and explores how we might prevent its further decline. He also covers personal topics, reflects on his life and career, the evolution of his thinking, and some of his most important books. Insightful and important, After the End of History grants unprecedented access to one of the greatest political minds of our time.

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Francis Bacon (1909–1992) was renowned for his dramatic depictions of the human form; he portrayed the ordeal of the vulnerable, defencelessly exposed body like no other artist of his generation. At the centre of this volume are about sixty of Bacon’s disturbing yet captivating studies of the human figure, encompassing works from the late 1940s until his death. Texts by a range of experts on the artist offer new insights into these radical and often discomfiting images, so brilliantly reproduced on the pages of this book.

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This final volume in the British Sculptors and Sculpture series addresses the work of the important but neglected British sculptor Francis Derwent Wood RA (1871-1926). A student of Edouard Lanteri at the Royal College of Art, Derwent Wood's early artistic career was distinguished. His reputation grew rapidly and a period as Director of Modelling at the Glasgow School of Art saw him working on public commissions with many of the city's most important architects. Simultaneously, he built his London practice, perfecting the art of the rapidly executed, observationally astute portrait bust, and becoming a well-connected member of the Chelsea set. He exhibited at the Royal Academy every year from 1895 until his death in 1926, becoming a full Academician in 1920. During the First World War he carried out pioneering work in the field of facial prosthetics. He was appointed Professor of Sculpture at the Royal College of Art in 1918, where Henry Moore was amongst his many pupils. Derwent Wood's Machine Gun Corps memorial at Hyde Park Corner in London, completed in the year of his death, is amongst the best-known and most consistently reviled sculptures in Britain. Matthew Withey offers readers a subtle and layered interpretation of the career that led up to this iconic and misunderstood work, together with a comprehensive catalogue of Derwent Wood's diverse body of work.

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The first biography of a cultured nineteenth century benevolent industrialist, friend of Prince Albert, Wellington and Robert Peel, whose former estate houses the RHS Bridgewater Garden.

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