Search results for ""author thomas"

Estudio de uno de los autores más influyentes y complejos del cine actual, en el que, a través de un análisis de sus películas, se abordan las preocupaciones creativas que caraterizan su obra y el modo en que han ido tomando forma a lo largo de la misma.

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Thomas Wyatt is the finest English poet between Chaucer and the Elizabethans. Many poems have been wrongly attributed to him, however, and the authenticity of different versions of his lyrics has been a matter of dispute. Richard Harrier makes a significant contribution both by establishing accurate texts and by determining the canon itself.The only solid foundation for the Wyatt canon is his personal copybook, the Egerton MS, here reproduced in a diplomatic text. The apparatus records all changes within the manuscript and all contemporary variants; explanatory notes are provided. This volume, which includes a detailed and comprehensive analysis of the sources, will stand as the ultimate authority for the text and canon of Wyatt's poems.

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Thomas Struth is one of the best-known photographers to come out of the school of Bernd and Hilla Becher. In this celebrated volume, Struth presents a series of urban streetscapes from cities such as Edinburgh, Lima, Pyongyang, Naples, and New York City, all taken in similar conditions—devoid of human activity. Struth refers to these mundane buildings, unpopulated streets and anonymous facades as “unconscious places”—environments that are imbued with meaning only by the viewer. Captured with exquisite technical prowess and presented with powerful, restrained neutrality, Struth’s images allow us to fully appreciate a city’s character—from its telephone wires above to the pavement below. Renowned sociologist Richard Sennett’s illuminating essay reveals how Struth’s sober, lucid photography leads the viewer to create their own conclusions, rather than forcing a perspective. The resulting interplay among photographer, viewer, and landscape may hold the key to understanding how architecture affects our daily lives.

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The Gospel of Thomas is the most controversial of the non-canonical gospels and the most important source outside the Gospels for our understanding of the historical Jesus and Christianity's origins. Mark Goodacre makes a detailed and compelling case that the author of The Gospel of Thomas is, after all, familiar with the Synoptic Gospels. He shows that the arguments for independence are inadequate and that the degree of agreement between Thomas and the Synoptics is far too great to be mediated by oral tradition. He suggests that Thomas features tell-tale signs of Matthew's and Luke's redactions and that the Gospel should be dated to the early to middle second century, when its author was looking for a means of lending the voice of his enigmatic Jesus an authoritative, Synopic-sounding legitimacy.

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The history of monochrome painting goes back more than a century. Since Kazimir Malevich revolutionized the art world in 1915 with his "Black Square," which was based on a single colour surface, this artistic form of expression has taken many different paths and never lost its fascination. The distinctive works of Norwegian painter Thomas Pihl join this tradition: they do not tell a story about a motif, but nevertheless, occupy the physical and mental spaces that surround them. They invite the viewer to interact, provoke thought, and give rise to discussion. In his works, Pihl applies the colours to the canvas in many layers, allowing a view of the traces of the working process. The resulting visual world, which in its play of light and colour shows us the nature of perception, is now summarized for the first time in a comprehensive publication.

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When Clarence Thomas joined the Supreme Court in 1991, he found with dismay that it was interpreting a very different Constitution from the one the framers had written—the one that had established a federal government manned by the people’s own elected representatives, charged with protecting citizens’ inborn rights while leaving them free to work out their individual happiness themselves, in their families, communities, and states. He found that his predecessors on the Court were complicit in the first step of this transformation, when in the 1870s they defanged the Civil War amendments intended to give full citizenship to his fellow black Americans. In the next generation, Woodrow Wilson, dismissing the framers and their work as obsolete, set out to replace laws made by the people’s representatives with rules made by highly educated, modern, supposedly nonpartisan “experts,” an idea Franklin Roosevelt supersized in the New Deal agencies that he acknowledged had no constitutional warrant. Then, under Chief Justice Earl Warren in the 1950s and 1960s, the Nine set about realizing Wilson’s dream of a Supreme Court sitting as a permanent constitutional convention, conjuring up laws out of smoke and mirrors and justifying them as expressions of the spirit of the age. But Thomas, who joined the Court after eight years running one of the myriad administrative agencies that the Great Society had piled on top of FDR’s batch, had deep misgivings about the new governmental order. He shared the framers’ vision of free, self-governing citizens forging their own fate. And from his own experience growing up in segregated Savannah, flirting with and rejecting black radicalism at college, and running an agency that supposedly advanced equality, he doubted that unelected experts and justices really did understand the moral arc of the universe better than the people themselves, or that the rules and rulings they issued made lives better rather than worse. So in the hundreds of opinions he has written in more than a quarter century on the Court—the most important of them explained in these pages in clear, non-lawyerly language—he has questioned the constitutional underpinnings of the new order and tried to restore the limited, self-governing original one, as more legitimate, more just, and more free than the one that grew up in its stead. The Court now seems set to move down the trail he blazed. A free, self-governing nation needs independent-minded, self-reliant citizens, and Thomas’s biography, vividly recounted here, produced just the kind of character that the founders assumed would always mark Americans. America’s future depends on the power of its culture and institutions to form ever more citizens of this stamp.

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Thomas Eakins painted two worlds in nineteenth-century America: one sure of its values—statesmen, scientists, and philosophers—and one that offered an uncertain vision of the changing times. From the shadow of his mother's depression to his fraught identity as a married man with homosexual inclinations, to his failure to sell his work in his day, Eakins was a man marked equally by passion and melancholy.In this enlightening examination of Eakins's defining artistic moments and key relationships—with wife Susan MacDowell, with subject and friend Walt Whitman, and with several leading scientists of his time—William S. McFeely sheds light on the motivations and desires of a founder of American realism.

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Although Thomas Jackson (1579-1640) is recognized by scholars as the most important theologian of the Laudian church, hitherto there has been no comprehensive study of his philosophical theology. The reason for Jackson's neglect is that scholars have been puzzled by the sources, character and influence of his Christian Platonism. From a close and comprehensive reading of his magnum opus - a massive twelve book commentary on the Apostles' Creed - this book shows how Jackson regards the Platonic tradition as an essential and perennial resource for the Christian theologian, anticipating and informing central aspects of Christian theological speculation and belief, given by divine providence to help him interpret and defend his creed. Special attention is paid to the influence of Nicholas of Cusa (1401-1464) on Jackson, an important moment in the history of thought since the German cardinal is generally thought to have been without intellectual successors in the early modern period.

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A SUNDAY TIMES, THE TIMES, DAILY TELEGRAPH, SPECTATOR, FINANCIAL TIMES, GUARDIAN, BBC HISTORY BOOK OF THE YEAR'This is the biography we have been awaiting for 400 years' Hilary Mantel'A masterpiece' Dan Jones, Sunday TimesThomas Cromwell is one of the most famous - or notorious - figures in English history. Born in obscurity in Putney, he became a fixer for Cardinal Wolsey in the 1520s. After Wolsey's fall, Henry VIII promoted him to a series of ever greater offices, and by the end of the 1530s he was effectively running the country for the King. That decade was one of the most momentous in English history: it saw a religious break with the Pope, unprecedented use of parliament, the dissolution of all monasteries. Cromwell was central to all this, but establishing his role with precision, at a distance of nearly five centuries and after the destruction of many of his papers at his own fall, has been notoriously difficult.Diarmaid MacCulloch's biography is much the most complete and persuasive life ever written of this elusive figure, a masterclass in historical detective work, making connections not previously seen. It overturns many received interpretations, for example that Cromwell was a cynical, 'secular' politician without deep-felt religious commitment, or that he and Anne Boleyn were allies because of their common religious sympathies - in fact he destroyed her. It introduces the many different personalities of these foundational years, all conscious of the 'terrifyingly unpredictable' Henry VIII. MacCulloch allows readers to feel that they are immersed in all this, that it is going on around them.For a time, the self-made 'ruffian' (as he described himself) - ruthless, adept in the exercise of power, quietly determined in religious revolution - was master of events. MacCulloch's biography for the first time reveals his true place in the making of modern England and Ireland, for good and ill.

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This volume offers the first in-depth investigation of Thomas Heywood’s engagement with the classics. Its introduction and twelve essays trace how the classics shaped Heywood’s work in a variety of genres across a writing career of over forty years, ranging from drama, epic and epyllion, to translations, compendia and the design of a warship for Charles I. Close readings demonstrate the influence of a capaciously conceived classical tradition that included continental editions and translations of Latin and Greek texts, early modern mythographies and the medieval tradition of Troy. They attend to Heywood’s thought-provoking imitations and juxtapositions of these sources, his use of myth to interrogate gender and heroism, and his turn to antiquity to celebrate and defamiliarise the theatrical or political present. Heywood’s better-known works are discussed alongside critically neglected ones, making the collection valuable for undergraduates and researchers alike.

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Thomas Hardy celebrated the glorious county of Dorset through his writings. Today our vision of Dorset is very much that fixed by Hardy in novels ranging from Far From the Madding Crowd and The Mayor of Casterbridge to Tess of the d'Urbervilles and Jude the Obscure. Hurriedly produced in instalments for magazines, they were then reworked by Hardy with care and finesse, and turned into world classics. Steve Wallis revisits the Dorset heartland of Hardy's Wessex, and illustrates the changes that have taken place using old and new images. He charts Thomas Hardy's life and work through the places he knew and the locations he immortalised, from his birthplace at Stinsford, to his old age at Max Gate, with Swanage, Sturminster Newton, Weymouth and Wimborne in between. Join the author on this unique and nostalgic tour through time.

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The so-called chasuble of Thomas Becket (1118–1170) is one of the most magnificent medieval textiles in the Mediterranean region. Richly decorated with ornaments, fabulous animals and figures in lavish gold embroidery with Arabic inscriptions, this precious liturgical garment provides impressive proof of the reutilisation of the Islamic arts in the Christian world. Venerated as a relic of St Thomas of Canterbury, the chasuble was produced in Spanish-Muslim workshops and probably reached Italy as a donation to the Cathedral of Fermo in about 1200. Despite its outstanding artistic quality and fascinating history, this magnificent garment has never hitherto been the subject of a detailed study. Richly illustrated with numerous details, this volume investigates the meaning of the inscriptions and motifs, examines manufacturing techniques and the function of the chasuble, traces its “biography” and places it within the historical context of the political, economic and cultural situation in the Mediterranean region.

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An essential book for scholars and students of renaissance music, as well as the history of music publishing and print. The Renaissance composer and organist Thomas Morley (c.1557-1602) is best known as a leading member of the English Madrigal School, but he also built a significant business as a music publisher. This book looks at Morley's pioneering contribution to music publishing in England, inspired by an established music printing culture in continental Europe. A student of William Byrd, Morley had a conventional education and early career as a cathedral musician both in Norwich and at St Paul's cathedral. Morley lived amongst the traders, artisans and gentry of England's major cities at a time when a market for recreational music was beginning to emerge. His entrepreneurial drive combinedwith an astute assessment of his market resulted in a successful and influential publishing business. The turning point came with a visit to the Low Countries in 1591, which gave him the opportunity to see a thriving music printpublication business at first hand. Contemporary records provide a detailed picture of the processes involved in early modern music publishing and enable the construction of a financial model of Morley's business. Morley died too young to reap the full rewards of his enterprise, but his success inspired the publication by his contemporaries of a significant corpus of readily available recreational music for the public. Critical to Morley's successwas his identification of the sort of music, notably the Italianate lighter style of madrigal, that would appeal to amateur musicians. Surviving copies of the original prints show that this music continued to be used for severalgenerations: new editions in modern notation started to appear from the mid eighteenth century onwards, suggesting that Morley truly had the measure of the market for recreational music. Thomas Morley: Elizabethan Music Publisher will be of particular interest to scholars and students of renaissance music, as well as the history of music publishing and print. Tessa Murray is an honorary research fellow at the University of Birmingham.

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This volume in the 21st-Century Oxford Authors series offers students a comprehensive selection of the work of Thomas Hardy—the first for nearly thirty years. The edition presents the poetry in a new way by using the text of Hardy's individual volumes, as they appeared originally, instead of the revised text he later produced for his Collected Poems. This edition reveals the range and variety of his output—qualities he later tended to disguise. His most famous sequence, Poems of 1912-13, appears in a radically different form. Selections from his epic drama, The Dynasts, are given within the chronological sequence of his poetry, illustrating the power of this neglected work. Notebook and journal entries where Hardy puts forward his understanding of poetry and the role of the poet are also included. Uniquely generous in the number of poems it contains, this edition also provides extensive annotation, locating Hardy's work in its cultural context and reading it in the light of the critical reception. The notes direct attention towards Hardy's regional heritage, and they show his response to the issues and debates of his day—to discussions surrounding war, patriotism, the treatment of animals, marriage, and religion, among others. The annotation identifies, in addition, how Hardy's work has continued to speak to present-day readers, by addressing present-day concerns—in particular, gender, including the gender(s) of the poetic voice, the global and (or versus) the local, and humanity's place within the natural world. The edition also includes an Introduction to the life and works of Hardy and a Chronology.

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'In Stockwin's hands the sea story will continue to entrance readers across the world' - GuardianMore than a decade ago, Thomas Kydd and Nicholas Renzi were in the Caribbean as sailors before the mast in the old Trajan. Now Kydd, a storied hero of Trafalgar, holds the glory of being post-captain of the 32-gun frigate, L'Aurore. After unremitting war a Caribbean posting seems a welcome respite. But Kydd and Renzi soon find themselves facing a familiar threat as the French imperil Britain's vital sugar trade.When merchantmen begin vanishing from the sea, Kydd and Renzi must embark on a dangerous game of espionage, seamanship and breath-taking action in order to destroy a new and terrible danger to the Empire.*********************What readers are saying about CARIBBEE'A proper swashbuckling affair' - 5 stars'Totally amazing!' - 5 stars'Loved this book' - 5 stars'A real find' - 5 stars'A gripping read' - 5 stars

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An assessment of the first five years of Justice Clarence Thomas's time on the Court Clarence Thomas is one of the most vilified public figures of our day. Time magazine called him “Uncle Tom Justice,” and famed columnist Nat Hentoff accused him of “having done more damage, more quickly, than any Supreme Court Justice in history.” To date, however, his legal philosophy has received only cursory treatment. Scott Gerber provides a portrait of Thomas based not on the justice's caricatured reputation, but on his judicial opinions and votes, his scholarly writings, and his public speeches. And what Gerber finds is likely to surprise Justice Thomas’s critics and supporters alike.

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Im monumentalen Format und in irritierender Figuration reaktivieren Thomas Schüttes Frauen das intensiv debattierte Feld des tradierten weiblichen Aktes, das am Ende des 20. Jahrhunderts weitestgehend als anachronistisch gilt. Die Monografie nähert sich der Werkgruppe der Frauen auf fünf Analysefeldern, die sich von der Herstellung der Figuren bis zu ihrer Ausstellung in verschiedenen Kontexten erstrecken. Sie verdeutlicht, an welchen Punkten, in welchen Erscheinungsweisen und mit welchen Funktionen ein Prinzip des In-der-Schwebe-Haltens produktiv wird, das die hunderte Kilo schweren Großplastiken und damit die offenen Fragen nach der menschlichen, weiblichen Figur und den Möglichkeiten ihrer Darstellung in monumentaler Plastik in Bewegung hält.

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Thomas Aquinas and the Philosophy of Punishment explores how Aquinas’s understandings of natural law and the common good apply to the contemporary philosophical discussion of punitive justice. It is the first book-length study to consider this question in decades, and the only book that confronts modern views of the topic.Peter Karl Koritansky presents Thomas Aquinas’s theory of punishment as an alternative to the leading schools of thought that have dominated the philosophical landscape in recent times, namely, utilitarianism and retributivism. After carefully examining each one and tracing its roots back to Immanuel Kant and Jeremy Bentham, Koritansky concludes that neither approach to punitive justice is able to provide a philosophically compelling justification for the institution of punishment. He explains how St. Thomas approaches the same philosophical questions from a markedly different set of assumptions rooted in his theory of natural law and his understanding of the common good.Not without its own difficulties, Aquinas’s approach offers a rationale and justification of punishment that is, Koritansky argues, much more humane, realistic, and compelling than either contemporary school is able to provide. Koritansky distinguishes his reading of the Angelic Doctor from that of other interpreters who tend to conflate Aquinas’s teaching with various aspects of recent thought. A final chapter considers the death penalty in John Paul II’s Gospel of Life and debates whether current Catholic teaching about the death penalty conflicts with Aquinas’s arguments in favour of the death penalty.

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The king’s coronation brings hope. Until a murderer strikes.Spring 1661: After years of civil war followed by Oliver Cromwell's joyless rule as Lord Protector, England awaits the coronation of King Charles II. The mood in London is one of relief and hope for a better future. But when two respectable gentlemen are found in a foul lane with their throats cut, it becomes apparent that England’s enemies are using the newly re-established post office for their own ends. There are traitors at work and plans to overthrow the king. Another war is possible. Thomas Hill, in London visiting friends, is approached by the king’s security advisor and asked to take charge of deciphering coded letters intercepted by the post office. As the body count rises and the killer starts preying on women, the action draws closer to Thomas – and his loved ones. He finds himself dragged into the hunt for the traitors and the murderer, but will he find them before it’s too late?

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A towering figure in the pantheon of twentieth-century literature, Thomas Mann has often been perceived as a dry and forbidding writer—“the starched collar,” as Bertolt Brecht once called him. But in fact, his fiction is lively, humane, sometimes hilarious. In these fresh renderings of his best short work, award-winning translator Damion Searls casts new light on this underappreciated aspect of Mann’s genius. The headliner of this volume, “Chaotic World and Childhood Sorrow” (in its first new translation since 1936)—a subtle masterpiece that reveals the profound emotional significance of everyday life—is Mann’s tender but sharp-eyed portrait of the “Bigs” and “Littles” of the bourgeois Cornelius family as they adjust to straitened circumstances in hyperinflationary Weimar Germany. Here, too, is a free-standing excerpt from Mann’s first novel, Buddenbrooks—a sensation when it was first published. “Death in Venice” (also included in this volume) is Mann’s most famous story, but less well known is that he intended it to be a diptych with another, comic story—included here as “Confessions of a Con Artist, by Felix Krull.” “Louisey”—a tale of sexual humiliation that gives a first glimpse of Mann’s lifelong ambivalence about the power of art—rounds out this revelatory, transformative collection.

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A close look at a new installation by renowned contemporary artist Mickalene Thomas that marks the first time she has engaged with early American history Mickalene Thomas (b. 1971) has gained an international reputation for her dazzling portraits of Black women, as well as her large-scale installations that physically enfold viewers into lushly decorated, 1970s-inspired domestic interiors. This volume offers a window into Thomas’s unique, multifaceted approach and introduces a new living room–style installation by the artist, in which she creates, for the first time, a homelike environment reminiscent of the pre-abolition era. In addition to period-specific textile patterns and other decorative elements, her installation incorporates a selection of small-scale, early American portraits of Black women, men, and children—from miniatures and daguerreotypes to silhouettes on paper and engravings in books—as well as a group of works by Thomas and other contemporary artists in a wide range of media. The book’s essays examine both how Thomas’s engagement with early American history opens up previously unexplored and fertile ground for her artistic practice and how this project constructs evocative spaces (both physically and textually) in which the lives of early nineteenth-century Black Americans can be recognized on their own terms. With an artist’s statement and extensive photography that captures details of the installation, this presentation documents an exciting direction for one of today’s most acclaimed artists. Distributed for the Yale University Art Gallery Exhibition Schedule Yale University Art Gallery (September 8, 2023–January 7, 2024)

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'Paints a vivid picture of life aboard the mighty ship-of-the-line' - Daily ExpressAn Admiralty summons to England cuts short Thomas Kydd's service in the turquoise waters of the Caribbean. While the crew of L'Aurore can look forward to liberty and prize money, a shadow hangs over their captain: the impending court martial of his one-time commander, Commodore Popham, who led a doomed attack on South America.Following Nelson's death two years earlier, England is in desperate need of heroes and Kydd's Caribbean exploits are the talk of London. Feted by the king and a grateful country, Kydd is soon on detachment in a new and dangerous sphere of interest: the Dardanelles, connecting the Mediterranean Sea to the Black Sea and providing a route to India. The French have long coveted this route, knowing that it could be the key to toppling the British Empire in India. When they successfully whip up such strong anti-English sentiment that the British ambassador to Constantinople has to flee to L'Aurore, a deadly stand-off ensues.Meanwhile Kydd's closest friend, Nicholas Renzi, has assumed a new role that he can never make public. Sent under alias on a mission to Constantinople, Renzi must engineer a coup that will turn the tables on the French. But when he's taken prisoner, only Kydd's superb seamanship and sheer bravado can save the day.*****************What readers are saying about PASHA'The best Kydd yet' - 5 stars'This is Stockwin's best' - 5 stars'A seafaring tale at its very best' - 5 stars'A wonderful yarn!' - 5 stars'Another brilliant book in the Thomas Kydd series' - 5 stars

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Over the course of three days in 1970, June 5, 6, and 7, simply sitting on a white bench in a Hamburg park, Thomas Bernhard delivered a powerful monologue for Three Days (Drei Tage), filmmaker Ferry Radax’s commanding film portrait of the great Austrian writer. Radax interwove the monologue with a variety of metaphorically resonant visual techniques—blacking out the screen to total darkness, suggestive of the closing of the observing eye; cuts to scenes of cameramen, lighting and recording equipment; extreme camera distance and extreme closeup. Bernhard had not yet written his autobiographical work Gathering Evidence, published originally in five separate volumes between 1975 and 1982, and his childhood remembrances were a revelation. This publication of Bernhard’s monologue and stills from Radax’s artful film allows this unique portrait of Bernhard to be savored in book form.

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There are so many strange and wonderful connections and coincidences; shared passions and associations that tie these two cultural icons - BOB DYLAN and DYLAN THOMAS together. This provides a rich tapestry - from the ancient Welsh folk tales of the Mabinogion to the poems of the Beat Generation; from Stravinsky to John Cale; from Johnnie Ray to Charlie Chaplin. Rimbaud and Lorca, Sgt. Pepper's and 'The Bells of Rhymney', Nelson Algren and Tennessee Williams and much more. And the wonderful connections between authors K G Miles and Jeff Towns makes it the perfect partnership to write this book. Fifty-two years ago, author Jeff Towns opened his first bookstore in Swansea - he called it Dylans Bookshop - a youthful homage to the poet Dylan Thomas born and raised in Swansea, an author he admired. Eight years before that, in 1962, (when he had never really heard of Dylan Thomas), he had bought his first ever LP record, Bob Dylan's first ever LP release called Bob Dylan with a track list; In My Time of Dyin', Fixin' to Die, See That My Grave is Kept Clean and so on; baker's dozen of powerful songs. Jeff read that his new hero had been born Robert Zimmerman but had changed his name to BOB DYLAN, a homage to a Welsh poet named DYLAN THOMAS. From that moment on THE TWO DYLANS became a constant part of and backdrop to his life. And the two Dylans kept on giving - they were both on the cover of the Beatles Sgt Pepper album. Peter Blake who fashioned the cover of Pepper, was a huge fan on Dylan Thomas' radio play Under Milk Wood. Jeff went to see Peter, they became friends and still are. Peter gave permission to use his wonderful Tiny Tina image for the cover of this book. London co-author K G Miles has been inspired by BOB DYLAN since being an awestruck child at Bob's Isle of Wight Festival in 1969. He is now the co-curator the of the Dylan Room at London's Troubadour Club and was honoured to address the inaugural conference at the Tulsa Archive in 2019.

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Both major novelist and major poet, with a distinctive off-beat and intensely personal style, Hardy is a modern writer born out of his time.

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Thomas Cole’s influence after his death, through both the finished and unfinished paintings that remained in his self-designed studio, was truly profound. This book brings new understanding to Cole’s last paintings and how they affected later artists. Written by one of the foremost American art historians, it examines the artist’s ambition to create paintings that expressed complex and elevated meanings. Images of works not seen for many years will illustrate Cole’s intentions and influence.

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London, 1728. A young, well-dressed man is driven through streets of jeering onlookers to the gallows at Tyburn. They call him a murderer. But Tom Hawkins is innocent and somehow he has to prove it, before the rope squeezes the life out of him.It is, of course, all his own fault. He was happy settling down with Kitty Sparks. He should never have told the most dangerous criminal in London that he was bored and looking for adventure. He should never have offered to help, the king's mistress. And most of all, he should never have trusted the witty, calculating Queen Caroline. She has promised him a royal pardon if he holds his tongue but then again, there is nothing more silent than a hanged man.Based loosely on actual events, Antonia Hodgson's new novel is both a sequel to The Devil in the Marshalsea and a standalone historical mystery. From the gilded cage of the Court to the wicked freedoms of the slums, it reveals a world both seductive and deadly. And it continues the rake's progress of Tom Hawkins - assuming he can find a way to survive the noose...

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After the end of hostilities in 1945, the fishing industry was quick to establish some semblance of recovery and a surge of new builds and restoration of Admiralty motor fishing vessels soon followed. In Fraserburgh, on Scotland’s east coast, several established yards satiated this desire amongst the fishing-boat owners for new craft. Thus it wasn’t surprising that a new yard sprung up at the end of the 1940s when three local apprentices from one of the yards decided to set up their own boatbuilding yard on the breakwater, in what was a very exposed position. And so the yard of Thomas Summers & Co. was born, a yard that became synonymous with fine seaworthy fishing boats suited to various methods of fishing. In the space of just thirteen years they produced eighty-eight fishing vessels and their output was more prolific than most of the other Scottish boatyards. Many of these boats survive to this day, some still working as fishing vessels, and others converted to pleasure, a testament to their superb design and solid construction. Here, Mike Smylie recounts the story of Thomas Summers & Co. through historic records and personal memories of both fishermen and family members, with many striking photographs of the boats they built.

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Metaphysical Themes in Thomas Aquinas III is Msgr. John Wippel’s third volume dedicated to the metaphysical thought of Thomas Aquinas. After an introduction, this volume of collected essays begins with Wippel’s interpretation of the discovery of the subject of metaphysics by a special kind of judgment (“separation”). In subsequent chapters, Wippel turns to the relationship between faith and reason, exploring what are known as the preambles of faith. This is followed by two chapters on the important contributions by Cornelio Fabro on Aquinas’s distinction between essence and esse and on participation. The volume continues with articles on Aquinas’s view of creation as a preamble of faith, Aquinas’s much-disputed defense of unicity of substantial form in creatures, his account of the separated soul’s natural knowledge, and Aquinas’s understanding of evil in his De Malo 1. The volume concludes with an article comparing Bonaventure, Aquinas, and Godfrey of Fontaines on the metaphysical composition of angelic beings.Most of these issues were disputed during Aquinas’s time by some of his contemporaries, and the proper understanding of each continues to be debated by various students of his thought today. Wippel’s purpose, therefore, is to help clarify our understanding of Aquinas’s thought on each of these topics, a task that requires the careful analysis of primary sources and of secondary literature and attention to the relative chronology of his writing.

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Inspired by space exploration and the earthly delights of gardens and music, Alma Thomas created brilliant abstractions that place her among the most innovative American painters of the 20th century. Breaking from realism in the 1950s, she moved through abstraction and into expressionism before finding a niche in a mosaic compositional style and reveling in color theory. With vibrant works such as Starry Night and the Astronauts and Color Etude (or Spring Bouquet), Thomas improvised with light, color, rhythm, and an aerial perspective that interpreted her world in a new way. After over 40 years in education, Thomas retired and focused on her art, eventually becoming the first African American woman to have a solo exhibition at the Whitney Museum of American Art. With dazzling paintings like the 12 collected in this calendar, Thomas left her mark upon the history of Modern art.

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