Search results for ""mundi""

The focus of this book is on the classic, ageless, and enduring flowers, which we have dubbed Vintage roses. This user-friendly term encompasses both the true Old roses and the best of the Modern roses. All Vintage roses have one thing in common; they are garden-friendly roses that celebrate the style and grace of the old. Vintage roses can be overblown, multi-petalled or deliciously simple, and this sumptuous tome is a love letter to these beautiful blooms. Unearth the hands-on know-how and history of the world's favourite flower. This book will appeal to the armchair gardener, gardening novice and seasoned expert alike. At the heart of the book are over 60 specially selected specimens – including those that have the best visual appearance, the most fragrant perfume, are easy to grow and produce beautiful flowers for cutting. The book covers not just original varieties such as Rosa Mundi (with its beautifully variegated stripes of deep pink and white), but also the wonderful new varieties that have been developed over the last 20 years. The no-fuss notes on pruning and care and the straightforward advice that accompanies each variety completely dispel the myth that roses are difficult or time-consuming to grow – proving that you can just as easily grow roses in a pot on your front steps as you can in a large country garden. Covering the best rambling, climbing and shrub roses, from bourbon to tea and floribunda to polyantha, you’ll be sure to find your new favourite variety. Plus, tips and tricks on arranging your cut roses makes it even easier to enjoy these fabulous flowers at home. With contemporary commentary on each bloom, easy-to-follow advice and glorious photography, this book will appeal to everyone who appreciates the classic beauty of the vintage rose.

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In his study Peter Frick starts with the examination of the theocentric structure of Philo's thought as outlined in the important passage De Opificio Mundi 171-2 where Philo correlates the idea of providence with his concept of God and the theory of creation. On this basis, any adequate understanding of providence in Philo must begin with the correlation between the formal aspects of the Philonic concept of God, especially the idea of God's transcendence, and Philo's conceptualization of the idea of providence in light of these formal aspects. In particular, the issue is how Philo can predicate that God is provident in nature, although God cannot be apprehended in his essence. Moreover, Philo explains the immanence of God in the cosmos in terms of the Logos and the divine powers, one of which he specifically characterizes as the providential power. Both the aspects of divine transcendence and immanence cohere in Philo's theory of creation. He conceives of the role of providence in cosmological matters as being responsible for the design, administration and continuous existence of the created universe.Two further issues, the questions of astral fatalism and theodicy, are critically important for a thorough understanding of Philo's conception of divine providence. Philo rejects the assumption implied in astral fatalism that the stars are transcendent divinities and thus have causal powers over human affairs. And he rejects astral fatalism because it renders absurd the notion of moral responsibility. Concerning the question of theodicy, Philo proceeds from the Platonic premise that God is not the cause for evil in any way. For him, the existence of moral evil exonerates God and his providence as the cause for evil and anchors the blame in the person.

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We live in a world that is known, every corner thoroughly explored. But has this knowledge cost us the ability to wonder? Wonder, Caspar Henderson argues, is at its most supremely valuable in just such a world because it reaffirms our humanity and gives us hope for the future. That's the power of wonder, and that's what we should aim to cultivate in our lives. But what are the wonders of the modern world?Henderson's brilliant exploration borrows from the form of one of the oldest and most widely known sources of wonder: maps. Large, detailed mappae mundi invited people in medieval Europe to vividly imagine places and possibilities they had never seen before: manticores with the head of a man, the body of a lion, and the stinging tail of a scorpion; tribes of one-eyed men who fought griffins for diamonds; and fearsome Scythian warriors who drank the blood of their enemies from their skulls. As outlandish as these maps and the stories that went with them sound to us today, Henderson argues that our views of the world today are sometimes no less incomplete or misleading. Scientists are only beginning to map the human brain, for example, revealing it as vastly more complex than any computer we can conceive. Our current understanding of physical reality is woefully incomplete. A New Map of Wonders explores these and other realms of the wonderful, in different times and cultures and in the present day, taking readers from Aboriginal Australian landscapes to sacred sites in Great Britain, all the while keeping sight questions such as the cognitive basis of wonder and the relationship between wonder and science.Beautifully illustrated and written with wit and moral complexity, this sequel to The Book of Barely Imagined Beings is a fascinating account of the power of wonder and an unforgettable meditation on its importance to our future.

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From the Social Enterprise Alliance, the organization dedicated to building a robust social enterprise field, comes Succeeding at Social Enterprise. This practical guide is filled with the best practices, tools, guidance, models and successful cases for leaders (and future leaders) of social ventures and enterprises. A groundbreaking work, it brings together the knowledge and experience of social enterprise pioneers in the field and some of today's most successful social entrepreneurs to show what it takes to implement and run an effective social venture or organization. Succeeding at Social Enterprise focuses on real life examples, lessons learned and the core competencies that are needed to run a social venture in a nonprofit, highlighting such skills as managing and leading, business planning, marketing and sales, and accounting. Praise for Succeeding at Social Enterprise "This is a must read for anyone starting or growing a social enterprise. The lessons learned offer valuable, practical and real insights from pioneers in the field. The frameworks and tools presented can be implemented immediately to help drive success and expand your social impact." —KRISS DEIGLMEIER, executive director, Center for Social Innovation, Stanford Graduate School of Business "By successfully weaving together the best thinking and advice from a diverse set of our field's leading experts and practitioners, Succeeding at Social Enterprise will be the new 'must have' handbook for Social Enterprise."—JED EMERSON, www.BlendedValue.org "This is a timely book needed for a movement that's taking off. The leading thinkers and top practitioners in this book make today's pressing issues clear to both the novice and the expe-rienced social entrepreneur."—KEVIN JONES, founding principal, Good Capital "Written by the nation's leading experts on starting, building and leading a successful social venture, this book is a profoundly important contribution to the growing body of literature on social entrepreneurship. No other book brings to bear this kind of business experience, practi- cal advice and wisdom on the challenges of creating and sustaining a social enterprise." —DAVID ROLL, founder, Lex Mundi Pro Bono Foundation The Social Enterprise Alliance is advocate for the field, hub of information and education, and builder of a vibrant and growing community of social enterprises.

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Alastair Gordon (b.1978, Edinburgh), is an artist based in London. This, the first major monograph of the artist’s career, includes over 160 paintings, drawings and documentational photographs, along with notes by Gordon himself. The book introduces this accomplished and engaging new voice in British painting.Gordon’s paintings bring the historic languages of genre painting and the quodlibet into a contemporary discourse that pushes the boundaries of realism, figuration and illusionism to focus on everyday moments. His work often elevates seemingly ordinary objects – feathers, matchsticks, postcards – allowing them to speak to wider concerns of beauty, truth, life and death.The documented works, produced between 2012 and 2023, include paintings made in oil or acrylic on MDF, wood, ‘found’ wood, gesso panel, paper, canvas and occasionally linen. Each is distinctive for its style and for the recurring motifs Gordon selects such as masking tape, paper ephemera and repeated, subtly different studies of the same subject. Gordon’s texts describe how objects found mud larking on the banks of the River Thames, shoes from the London City Mission and rags and papers discarded from art students’ studios have been depicted in paintings, incorporating the histories and stories of each item (and each person) into his work. The book also features recent works influenced by rural landscapes and parkland.An introduction by Julia Lucero, Associate Director of Nahmad Projects, London, emphasises the importance of nature and of meditation within Gordon’s practice. Specifically, Lucero brings out the idea of the ‘axis mundi, that metaphysical and mystical connecting point where heaven meets Earth’. She explores the significance of quodlibet, a seventeenth-century trompe-l’oeil painting technique that Gordon favours, rendering brushstrokes invisible and affording everyday objects new significance, even ‘profound value’. Humble objects such as a matchstick or paper aeroplane might be elevated to the realms of the divine.An essay by Jorella Andrews, Professor of Visual Cultures at Goldsmiths, University of London, describes the influence of Gordon’s time on a research residency in the former studio of Paul Cézanne at Les Lauves on the outskirts of Aix-en-Provence. His experiences there proved pivotal to the direction of his practice, in which both the ‘visual misdirection’ of quodlibet and the qualities of wood have become central. Andrews brings art historical texts and works of art into relation with Gordon’s paintings, making comparisons between subject, form and approach. Andrews’ text further details the recent synthesis of two sides of Gordon’s work: precise illusionism combined with looser observations made in the natural landscape.Edited by Alastair Gordon Studio, designed by Herman Lelie, printed by EBS Verona and published in 2023 by Anomie Publishing, London, the publication has been generously supported by Howard and Roberta Ahmanson through Fieldstead and Company.Alastair Gordon (b. 1978, Edinburgh) is an artist working with painting, drawing and installation, based in London. Gordon received his BA from Glasgow School of Art and his MA from Wimbledon School of Art, London. His work has been shown in recent solo exhibitions at Ahmanson Gallery in Irvine, California (2017), Aleph Contemporary, London (Quodlibet (2021) and Without Borders (2020)) and in the group exhibition Unpacking Gainsborough (2021) at Cynthia Corbett Gallery, London.

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“The story of a book-making life.”—New York Times “The lovely colors, tasteful art and elegant typography are an abiding reminder to a hurried world that some gifts of grace endure. That promise is realized in Godine’s books, the gold standard of commercial bookmaking.”—Wall Street Journal David R. Godine, the retired founder of the press, conducts a personal tour of the most memorable books he published during his 50-year career. From his earliest days as a letterpress printer to the present digital era, Godine managed to survive, and sporadically thrive, against all odds and challenges. For more than fifty years, this publishing house tried to make good on the founder’s claim to “Publish books that matter for people who care.” Books that might, and often did, make a difference. In fiction and nonfiction, biography, photography, art and architecture, the graphic arts, children’s books, and more, the company maintained an open door policy, attempting to discover and nurture new talent, rediscovering and reprinting older and unjustly neglected classics. Its program includes first American editions of such acclaimed authors as John Banville, Richard Rodriguez, Noel Perrin, Andre Dubus, Janet Malcolm, and Georges Perec. Its photographers have included Sally Mann, Paul Caponigro, Yousuf Karsh, Nicholas Nixon, George Tice, Rosamond Purcell, Manuel Álvarez Bravo, and Julia Margaret Cameron, among others. Its list of children’s books, with authors and illustrators as diverse as Mary Azarian, Dylan Thomas, Barbara McClintock, Andrea Wisnewski, Edward Ardizzone, William Steig, Daniel C. Beard, Saki, and Frances Hodgson Burnett, have been embraced by reviewers, bookstores, and the public for two generations. Among many others, the Nonpareil list has reprinted the work of Edmund Wilson, George Orwell, Donald Hall, Iris Origo, Paul Horgan, William Gass, Will Cuppy, Ludwig Bemelmans, William Maxwell, Wright Morris, and Paula Fox. The Verba Mundi series introduced American readers to classics of foreign literature by Aharon Appelfeld, Dino Buzzati, Robert Musil, José Donoso, and two Nobel Laureates, J.M.G. Le Clézio and Patrick Modiano.As publishing history, Godine at Fifty presents a record of an era that began in 1970 as the reign of hot metal type that had endured for almost 500 years was coming to an end, when retailers were mostly brick-and-mortar stores, when small publishers thrived, when library purchases were primarily books, and when correspondence was carried on through letters and the telephone. It was an industry that had not substantially changed for a century. So this is, as well, the story of a sea change—in publishing practices, in technology, in retailing, and in corporate structures. Divided into twenty-four chapters and describing almost 300 titles, it remains primarily a personal story—the record, told through the books themselves, of a staunchly independent publisher who pursued his own interests, expanded on his own passions, and took the unconventional position that somewhere out there were probably enough readers that shared his peculiar obsessions to insure his survival. It is also the back story of books and authors, some famous, some little known, who had a story to tell, and what was required to bring that story, through the many and complex dimensions of the publishing process, to the attention of the world.

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Outer Beauty Inner Joy is a spiritual book. It seeks to give the reader space in which to contemplate and strengthen values that reason alone cannot reach. The Renaissance was an age of spiritual rediscovery of the art and wisdom of the ancients. Today in an age as fully dysfunctional and violent as the Renaissance itself we need to go on the same quest in our own time. We honor and revere the art of the Italian Renaissance, but not all of us are familiar with the philosophy that inspired it. The Renaissance was an explosion of beauty and art in Western history. It was also a time when writers and scholars like Marsilio Ficino and Pico della Mirandola, and artists such as Leonardo, Boticelli, Tintoretto and Michaelangelo, were seeking a common thread among the world's ancient spiritual traditions. It was the beginning of a freer and more ecumenical way of looking at spirituality and at life. For Renaissance thinkers, the role of the artist and the making of art held an important place in society. Artists could contact unseen forces, bringing the beauty of higher realms into their earthly creations. Through contemplating this beauty, viewers too could touch its divine essence. Renaissance philosophers placed a new emphasis on the value of life: personal experiences with nature, art, and love could be ways of communing with the Divine here and now. Outer Beauty Inner Joy seeks through this selection of passages and images from some of the great writers and artists of the Italian Renaissance, to express the classic Renaissance ideal of beauty, and reveal an ecumenical wisdom; one that reaches across boundaries of different belief systems. Mixing contemporary values with the teachings of the ancients, Italian philosophers forged an inclusive, holistic philosophy. They spoke of a new way to experience life and a new understanding of the individual's place in the cosmos. What in the Renaissance was seen as the Anima Mundi, the divine essence which embraces and energizes all of life, permeates the pages of Outer Beauty, Inner Joy. The ideal of eloquence, persuasive, powerful discourse that moves the listener, was prized during the Renaissance, and is evident in the words of these writers. Soulful words matched with evocative images create a book that reveals the attitude and quality of mind of the Italian Renaissance, a time when concepts fundamental to modern Western culture were born. This philosophy, and this book itself, which reveres the wisdom and art, as well as equality, and tolerance for all beings, could not be more timely. Julianne Davidow has an enduring fascination with the Italian Renaissance. She began spending time in Italy in 1990 and has lived in Rome and Venice. She conducted research for Outer Beauty, Inner Joy at the Marciana Library in Venice, at the New York City Public Library, at conferences sponsored by the Renaissance Society of America and the New York Open Center, and through independent study. Having studied comparative religion and literature at Sarah Lawrence College, she continues to take a deep interest in these subjects. She writes on art, history, travel, and spirituality, and loves to photograph ancient art and artifact. Her work has been shown in exhibitions in the U.S. and in Europe. This immensely attractive and important book shows in visual images, words, and description a point of view that has been utterly lost to the modern mind: the idea that divinity and humanism go together. This means that to be a fully human person, developing all your latent abilities and points of character, you have to be in contact with that which is beyond you, the profound and visionary mysteriousness of your situation. Thomas Moore, author of Care of the Soul; A Guide for Cultivating Depth and Sacredness in Every day Life

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