20082 products were found matching your search for Authenticity in 4 shops:

New Book. Shipped from UK. Established seller since 2000.

A boldness in a classic 24K Gold-Plated Necklace Each bold circle in the classic chain adding a touch of sophistication to elevate your style with an allure. Handcrafted to perfection by skilled artisans, this exquisite piece capture the essence of regal elegance and modern sophistication. All Les Reines collections are 24k gold plated brass. In order to keep your jewelry as shiny as it is on the first day, please follow our care guide; We recommend storing your jewelry in the Les Reines box in which it came in order to protect it from scratching and tangling when not being worn. Make sure to store your jewelry in a dry cool place (never in your bathroom) to avoid the tarnishing caused by humidity. Avoid contact with perfumes, makeup, creams, chlorine and other chemicals, as these substances will cause the jewelry to tarnish or fade. Do not wear your Les Reines jewelry while showering, swimming, exercising or sleeping. The best way to clean your Les Reines jewelry is to gently use a cotton or microfiber cloth. Make sure not to rub too hard or too much, as this may lead to the removal of 24 karat gold plating. To clean pearls and other semi-precious stones, gently wipe with a soft damp cloth.

Certificate of Authenticity and Hologram system: The Hahnemuhle Certificate of Authenticity is designed to protect the security and exclusivity of you limited edition art works and reproductions, and reduce the risk of forgery. Each certificate has a serialized numerical hologram already affixed to the certificate. The certificate can then have your customised design and wording printed onto it, eg: description of art work, publisher, artist, edition number and date, through inkjet, laser, thermal transfer or offset litho printing. An identical numerically serialized hologram is also provided, to be fixed directly to the art work itself, usually on the reverse image side. This combination assures that the Certificate of Authenticity relates directly to that particular piece of artwork. The certificates are manufactured to the strict standards and regulations of Europay and Clearstream, the world leaders in forgery resistant printing. The forgery resistant security characteristics found in this system are both visible and invisible in the forms of serial number, Guilloche with relief, rainbow-pressure, watermarks and a special UV signature. The certificates and hologram systems are available in packs of 100 sequenced numbers. Hahnemuhle also keeps an additional record at their offices for added security.

Came with a guitar I had then sold. Add some provenance to your axe

Can you imagine? You're at the VFW on a Friday night, and your numbers are called. Sometimes, friends, life isn't just up and down. Sometimes it'...

Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the 'culture of authenticity' as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulz argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed's Internal (2009); immersive theatres as illustrated by Punchdrunk's shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan's Talking to Terrorists (2005), David Hare's Stuff Happens (2004), Edmund Burke's Black Watch (2007) and Dennis Kelly's pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday.

Unread book in perfect condition.

Buy with confidence! Book is in new, never-used condition 1.46

New Book. Shipped From Uk. This Book Is Printed On Demand. Established Seller Since 2000.

Nothing has more profoundly influenced the development of music making over the last two decades than the growth of the historical performance movement. Perceived by some as a threat, an indication of our loss of faith in our powers of musical creation, and by others as part of the evolution of modern attitudes towards performing styles, this trend towards "historically correct" interpretation has inspired lively debate among scholars and performers. Examining and questioning the prevailing basis for the so-called "authenticity" movement, this collection of papers deals with the conflict between approaching early music performance with respect for the composer's original intentions, and the shortcomings, according to many musicians, that this produces. The contributors include Gary Tomlinson, Will Crutchfield, Howard Mayer Brown, Robert Morgan, Philip Brett, and Richard Taruskin.

Matters of authenticity are matters of accuracy, matters of truthfulness, matters of reliability and legitimacy. While Authenticity begins with Custer and the questions about his legend s reliability (when tourists and saloon patrons are being rhetorically targeted), it moves through issues of creativity and nonfiction, ghostwriting and grade inflation, padded resumes and online dating. In the end, Authenticity considers, via Plato, the question as old as western philosophy itself: How do we know that anything we know is, in fact, real?

In the last ten years or so an interest in 'authenticity' has reached a wide public. Many of the best-selling records of Bach, Handel, Haydn and Mozart are those in which period techniques and period instruments are used. There is however a danger that new 'authentic' dogmas of style and interpretation will come to replace the anachronistic dogmas of the late romantic tradition. 'The search for an 'authentic' interpretation', writes Peter le Huray in his opening chapter, 'is not the search for a single hard and fast answer, but for a range of possibilities from which to make performing decisions.' This book introduces the performer to the problems that must be faced when preparing an 'authentic' interpretation. It does so by focusing on nine representative and well-known works from the Baroque and Classical periods, defining some of the more important questions that the performer and listener should ask, and suggesting fruitful lines of enquiry. It is essential reading and reference material for player, student and listener alike.

This is a clear and well-argued work for the authenticity of 2 Thessalonians. Following a critical examination of the history of the dispute, the author examines the life and epistle of the earliest external witness, Polycarp, to show that 2 Thessalonians was accepted as authentically Pauline about AD 90. Through a careful reading of the letter MacDougall demonstrates that 'tradition' (2 Thess. 2:15; 3:6) is a characteristic of the undisputed letters of Paul, that the doctrinal content - eschatology and imitation - is Pauline, and that the letter's style is authentic. A rigorous defence of the letter is long overdue. MacDougall provides a seminal work on the subject.

The Authenticity of the Book of Genesis by Dr Bill Cooper - Why Genesis can be trusted to speak about origins In this single volume Dr Bill Cooper takes on the challenge of the globally accepted media's opinion of the Scriptures we call the Bible. He argues from hard evidence that the Bible is historically accurate throughout - in everything, prophetical, geographical, linguistic and doctrinal. So whether you come to its perusal from jeering atheism or a longing to know how your own conviction of its truth can be substantiated, read on. Be challenged and be completely reassured. God's Word is true! Part One of this book deals with the antiquity of Genesis, showing how each of its component parts is considerably older than any of the sources proposed for it by the modernist school. Part Two deals with the pre-Christian Flood traditions that are found around the world, which together present a formidable body of evidence for the truth of Genesis when it speaks of the Flood of Noah. Finally, Part Three draws the reader's attention to a certain clay tablet which makes nonsense of the modernist claim that the Flood account found in Genesis is modeled on or derived from the Epic of Gilgamesh or any other proposed source. We call it here the Genesis Flood Tablet.

(Limited Classical Reprint Library) Larger book, shiny brown faux leather, very bright gilt logo at bottom front right, very bright gilt lettering and borders on spine, 207 pages plus catalog. tiny price-tag remnant at bottom back right with slight surface wear. Near Very Good.

Michael H. McCarthy has carefully studied the writings of Bernard Lonergan (Canadian philosopher-theologian, 1904-1984) for over fifty years. In his 1989 book, The Crisis of Philosophy, McCarthy argued for the superiority of Lonergan's distinctive philosophical project to those of his analytic and phenomenological rivals. Now in Authenticity as Self-Transcendence: The Enduring Insights of Bernard Lonergan, he develops and expands his earlier argument with four new essays, designed to show Lonergan's exceptional relevance to the cultural situation of late modernity. The essays explore and appraise Lonergan's cultural mission: to raise Catholic philosophy and theology to meet the intellectual challenges and standards of his time.

Most sales training focuses on getting to know the product, analyzing the market, and identifying the competition, but there is more to sales success than that. Successful selling takes three types of preparation:· The what: knowing the product, the industry, and the competition· The how: applying the knowledge, enhancing social interaction, developing relationships, and dealing with emotional ups and downs· The why: understanding the customer’s purpose, intention, values, inner belief boundaries, and self-valueEmotional factors are powerful contributors to sales success. In this book, you will go beyond the what to the how and why, and learn whole-being selling—selling that utilizes the head, heart, and soul and brings mental, emotional, and spiritual forces together.in Authenticity, sales expert Ron Willingham shares new discoveries about the deeper causes of sales success or failure, and offers a step-by-step guide to:· Develop stronger client relationships through enhanced social skills· Increase the value you bring to customers (and feel more worthy of success and compensation)· Boost sales by learning and applying the fundamentals of client-focused selling

How are we to assess the current popularity of period instruments and early-music performance? For musicians and audiences alike, the "historical authenticity" movement has increasingly influenced the performance of classical music. It has given us, claims Peter Kivy, "new and rewarding ways of listening to our musical reportory (as well as silly, vulgar, and unrewarding ones)." He believes that theory now overrules the ear in arguing for and justifying particular aesthetic decisions.In his customary engaging style, Kivy here mounts a philosophical inquiry into the desirability of using or re-creating historical performance. "Authenticity has become so widely accepted," he writes, "that why it should be accepted has become an unasked, indeed a forgotten question among the converted." In "How to Be Authentic," the first section of his book, he examines four different kinds of authenticity; in the second part, "Why to Be Authentic," he suggests how to evaluate them. Discussing issues that he cares about passionately, Kivy provides ammunition for both camps―those who follow authentic performance practice and those who do not.It is his hope that this book provides the groundwork for dialogue between mucisians and philosophers. "I look forward to that," he says, "and to being, when it comes, in the thick of things."

Personal memories of life in Europe and America as literature professor, archeologist, feature film actor and radio broadcaster and active duty naval officer and teacher on combat vessels and in prisons since 1965.

Authenticity is a Feeling: My Life in PME-ART is a compelling hybrid of history, memoir, and performance theory. It tells the story of the interdisciplinary performance group PME-ART and their ongoing endeavour to make a new kind of highly collaborative theatre dedicated to the fragile but essential act of "being yourself in a performance situation." Written, among other things, to celebrate PME-ART's twentieth anniversary, the book begins when Jacob Wren meets Sylvie Lachance and Richard Ducharme, moves from Toronto to Montreal to make just one project, but instead ends up spending the next twenty years creating an eccentric, often bilingual, art. It is a book about being unable to learn French yet nonetheless remaining co-artistic director of a French-speaking performance group, about the Spinal Tap-like adventures of being continuously on tour, about the rewards and difficulties of intensive collaborations, about making performances that break the mold and confronting the repercussions of doing so. A book that aims to change the rules for how interdisciplinary performance can be written about today.