In arriving at the heart of Buddhist philosophy, Nolan Pliny Jacobson attempts to eliminate some of the confusion in the West (and perhaps in the East as well) concerning the Buddhist view of what is concrete and ultimately real in the world.
Jacobson presents Nāgārjuna, the Plato of the Buddhist tradition, as the major exemplar of the Buddhist expression of life. In his comparison of Buddhism and Western theology, Jacobson demonstrates that some efforts in Western religious thought approach the Buddhist empirical stance.
The author considers James’s work from The Bostonians to The Awkward Age – from 1883 to 1889 – a period in which James was resident in London and searching for material to replace the “international theme.” Jacobson considers this context in relation to the emergence of a mass market and sees James’s major fiction of this period as an attempt to exploit the conventions of popular fiction in an analysis of his society’s assumptions. James’s work at this time must also be viewed as an artist’s effort to secure popular attention and acceptance.
The First General History in English of the Germanic People Who Sacked Rome in the Fifth Century AD and Established a Kingdom in North Africa
The fifth century AD was a time of great changes in the Mediterranean world. In the early 400s, the Roman Empire ranged from the lowlands of Scotland to the Upper Nile and from Portugal to the Caucasus. It was almost at its widest extent, and although ruled by two emperors—one in the West and one in the East—it was still a single empire. One hundred years later, Roman control of Western Europe and Western North Africa had been lost. In its place, a number of Germanic kingdoms had been established in these regions, with hundreds of thousands of Germanic and other peoples settling permanently inside the former borders of the Western Roman Empire.
One of the most fascinating of these tribes of late antiquity were the Vandals, who over a period of six hundred years had migrated from the woodland regions of Scandinavia across Europe and ended in the deserts of North Africa. In A History of the Vandals, the first general account in English covering the entire story of the Vandals from their emergence to the end of their kingdom, historian Torsten Cumberland Jacobsen pieces together what we know about the Vandals, sifting fact from fiction. In the middle of the fifth century the Vandals, who professed Arianism, a form of Christianity considered heretical by the Roman emperor, created the first permanent Germanic successor state in the West and were one of the deciding factors in the downfall of the Western Roman Empire. Later Christian historians described their sack of Rome in 455 and their vehement persecution of Catholics in their kingdom, accounts that were sensationalized and gave birth to the term “vandalism.”
In the mid-sixth century, the Vandals and their North African kingdom were the first target of Byzantine Emperor Justinian’s ambitious plan to reconquer the lost territories of the fallen Western Empire. In less than four months, what had been considered one of the strongest Germanic kingdoms had been defeated by a small Roman army led by the general Belisarius. Despite later rebellions, this was the end of the Germanic presence in North Africa, and in many ways the end of the Arian heresy of Christianity. For the Romans it was the incredibly successful start of the reconquest of the lost lands of the Western Empire.Before Austin became the “live music capital of the world” and attracted tens of thousands of music fans, it had a vibrant local music scene that spanned late sixties psychedelic and avant-garde rock to early eighties punk. Venues such as the Vulcan Gas Company and the Armadillo World Headquarters hosted both innovative local musicians and big-name touring acts. Poster artists not only advertised the performances—they visually defined the music and culture of Austin during this pivotal period. Their posters promoted an alternative lifestyle that permeated the city and reflected Austin’s transformation from a sleepy university town into a veritable oasis of underground artistic and cultural activity in the state of Texas.
This book presents a definitive survey of music poster art produced in Austin between 1967 and 1982. It vividly illustrates four distinct generations of posters—psychedelic art of the Vulcan Gas Company, early works from the Armadillo World Headquarters, an emerging variety of styles from the mid-1970s, and the radical visual aesthetic of punk—produced by such renowned artists as Gilbert Shelton, Jim Franklin, Kerry Awn, Micael Priest, Guy Juke, Ken Featherston, NOXX, and Danny Garrett. Setting the posters in context, Texas music and pop-culture authority Joe Nick Patoski details the history of music posters in Austin, and artist and poster art scholar Nels Jacobson explores the lives and techniques of the artists.
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