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Thomas Kinkade, known as the "Painter of Light," has become one of the most avidly collected, financially successful and controversial painters in history. His paintings are embraced by thousands of faithful collectors and criticized by others for their idyllic scenes which romanticize and illuminate a fantasy life on earth.Thomas Kinkade in association with Lightpost Publishing and Media Arts Group, Inc. have published limited editions of his work and created a lifestyle brand of Kinkade collectables and products.

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The performances on Dire Straits' Communique are so smooth and effortless, they were originally criticized for replicating the blueprints of the band's breakout debut. Time, however, has a way of changing perspectives and exposing the truth. More than 35 years after it's original release in June 1979, Communique rightfully takes it's place as the group's most underrated record - a nine-track set spiked with engaging storytelling, relaxed vibes, and deceiving simplicity. Recorded in the Baham

(2-LP set) Like the band's previous two releases, Cream's third album, Wheels Of Fire (1968), also topped the charts. Although it was criticized at the time for being a somewhat disjointed album, divided into one LP of new studio material and one LP of live material, it redeems itself because "White Room" has gone down in the annals of history as one of the great moments in Rock & Roll. New reprint in golden jacket just like the Japanese press of the live side. No bonus tracks, special edition.

In his controversial 1973 book, Is God a White Racist?, William R. Jones sharply criticized black theologians for their agnostic approach to black suffering, noting that the doctrine of an ominibenevolent God poses very significant problems for a perennially oppressed community. He proposed a "humanocentric theism" which denies God's sovereignty over human history and imputes autonomous agency to humans. By rendering humans alone responsible for moral evil, Jones's theology freed blacks to revolt against the evil of oppression without revolting against God. Sherman Jackson now places Jones's argument in conversation with the classical schools of Islamic theology. The problem confronting the black community is not simply proving that God exists, says Jackson. The problem, rather, is establishing that God cares. No religious expression that fails to tackle the problem of black suffering can hope to enjoy a durable tenure in the black community. For the Muslim, therefore, it is essential to find a Quranic/Islamic grounding for the protest-oriented agenda of black religion. That is the task Jackson undertakes in this pathbreaking work. Jackson's previous book, Islam and the Blackamerican (OUP 2006) laid the groundwork for this ambitious project. Its sequel, Islam and the Problem of Black Suffering, solidifies Jackson's reputation as the foremost theologian of the black American Islamic movement.

Perhaps best known for his exceptional apples and pears, Paul Cezanne (1839-1906) was one of the founding fathers of modern art. Though he was underappreciated and highly criticized during his life, as time passed Cezanne work came to be considered of inestimable importance. His method of experimentation with abstraction and perspective was an important precursor to modern painting, particularly cubism.

Reporting on violence is one of the most problematic features of journalistic practice-the area most frequently criticized by the public and those on the receiving end of that coverage. Now in its second edition, Covering Violence remains a crucial guide for becoming a sensitive and responsible reporter. Discussing such topics as rape and the ethics of interviewing children, the book gives students and journalists a detailed understanding of what is happening "on the scene" of a violent event, including where a reporter can go safely and legally, how to obtain the most useful information, and how best to interview and photograph victims and witnesses. This second edition takes our turbulent postmillennium history into account and emphasizes the consequences of frequent exposure to traumatic events. It offers new chapters on 9/11 and terrorism, the Columbine school shootings, and the photographing of violent events, as well as additional profiles of Vietnamese American, Native American, and African American journalists.More essential than ever, Covering Violence connects journalistic practices to the rapidly expanding body of literature on trauma, post-traumatic stress disorder, and secondary traumatic stress, and pays close attention to current medical and political debates concerning victims' rights.

In response to the devastating trauma of World War I, British and American authors wrote about grief. The need to articulate loss inspired moving novels by Virginia Woolf and William Faulkner. Woolf criticized the role of Britain in the "war to end all wars," and Faulkner recognized in postwar France a devastation of land and people he found familiar from his life in a Mississippi still recovering from the American Civil War. In Character and Mourning, Erin Penner shows how these two modernist novelists took on the challenge of rewriting the literature of mourning for a new and difficult era.Faulkner and Woolf address the massive war losses from the perspective of the noncombatant, thus reimagining modern mourning. By refusing to let war poets dominate the larger cultural portrait of the postwar period, these novelists negotiated a relationship between soldiers and civilians―a relationship that was crucial once the war had ended. Highlighting their sustained attention to elegiac reinvention over the course of their writing careers―from Jacob’s Room to The Waves, from The Sound and the Fury to Go Down, Moses―Penner moves beyond biographical and stylistic differences to recognize Faulkner and Woolf’s shared role in reshaping elegiac literature in the period following the First World War.

Police culture has been widely criticized as a source of resistance to change and reform, and is often misunderstood. This book seeks to capture the heart of police culture-including its tragedies and celebrations-and to understand its powerful themes of morality, solidarity, and common sense, by systematically integrating a broad literature on police culture into middle-range theory, and developing original perspectives about many aspects of police work.The first section addresses the definition of culture and the understanding of police culture, while section two moves on to themes of police culture.

When The Phil Donahue Show topped the ratings in 1979, it ushered in a new era in daytime television. Mixing controversial social issues, light topics, and audience participation, it created a new genre, one that is still flourishing, despite being harshly criticized, over two decades later. Now, the daytime TV landscape is littered with talk shows. But why do people watch these shows? How do they make sense of them? And how do these shows affect their viewers' sense of what constitutes appropriate public debate? In Talking Trash, Julie Engel Manga offers a fascinating exploration of these questions and reveals the wide range of reasons viewers are drawn to “trash talk.” Focusing on such shows as Oprah!, Jerry Springer, Ricki Lake, Jenny Jones, and Maury Povitch, and drawing upon interviews with women who watch these shows, Talking Trash is the first examination of the talk show phenomenon from the viewers’ perspective. In taking this approach, Manga is able to understand what talk shows mean to the women who watch them. And by refusing to judge either the shows or their viewers as good or bad, she is able to grasp how viewers relate to these shows-as escape, entertainment, uninhibited public discourse, or an accurate reflection of their own hardships and heartaches. Manga concludes that while the form of “trash-talk” shows may be relatively new, the socio-cultural experience they embody has been with us for a long time. Absorbing, entertaining, and keenly perceptive, Talking Trash illuminates the complex viewer response to “trash talk” and examines the cultural politics surrounding this wildly controversial popular phenomenon.

Here is one of Shakespeare's problematic plays and his most farcical. The arc of love's victory in All's Well That Ends Well doesn't compel an audience's compassion, yet it is still a skillfully written play. The Merry Wives of Windsor has been criticized for having been written in 14 days, yet it brims with wit and features a new tale of Falstaff, one of literature's greatest characters.

This first batch of Chicken Soup for Teens consists of 101 stories every teenager can relate to and learn from -- without feeling criticized or judged. This edition contains important lessons on the nature of friendship and love, the importance of belief in the future, and the value of respect for oneself and others, and much more.

Ridley Scott's 1982 film Blade Runner is now widely recognized as an undisputed masterwork of science fiction cinema and one of the most influential films released in the last forty years. Yet on its original release it was both a critical and commercial failure, criticized for its perceived prioritizing of style over content and a narrative that did not deliver the anticipated high octane action that its star casting and large budget normally promise. How did a film that was removed from circulation within a month of its premiere come to mean so much to modern audiences and provide such a rich seam of material for film and media studies? Sean Redmond excavates the many significances of the film – its breakthrough use of special effects as a narrative tool; its revolutionary representation of the future city; its treatment of racial and sexual politics; and its unique status as a text whose meaning was fundamentally altered in its re-released Director's Cut form, then further revised in a Final Cut in 2007, and what this means in an institutional context.This volume was previously published as Studying Blade Runner in 2008.

Human agency has four irreducibly different dimensions - psychological, ethical, intellectual, and physical - which the traditional idea of a will tended to conflate. Twentieth-century philosophers criticized the idea that acts are caused by 'willing' or 'volition', but the study of human action continued to be governed by a tendency to equate these dimensions of agency, or to reduce one to another. Cutting across the branches of philosophy, from logic and epistemology to ethics and jurisprudence, Action, Knowledge, and Will defends comprehensive theories of action and knowledge, and shows how thinking about agency in four dimensions deepens our understanding of human conduct and its causes.In Action, Knowledge, and Will, John Hyman ranges across the branches of philosophy, from logic and epistemology to ethics and jurisprudence, defends comprehensive theories of action and knowledge, and offers new answers to some of the most challenging theoretical and practical questions about human conduct, for example: What is the difference between the changes in our bodies we cause personally ourselves, such as the movements of our legs when we walk, and the movements we do not cause personally, such as the contraction of the heart? Are the acts we do to escape threats or fulfil obligations done voluntarily, out of choice? Should duress exculpate a defendant completely, or should it merely mitigate the criminality of an act? When we explain an intentional act by stating our reasons for doing it, do we explain it causally or teleologically or both? How does knowledge inform rational behaviour? Is knowledge a better guide to action than belief?

Virtually every aspect of Catholicism which is controversial within the Church or a stumbling block to non-Catholic Christians is treated in this book. Rather than avoiding what is most glaringly un-modern or what is most criticized by non-Catholics, Balthasar reviews these elements one by one, and shows how they are rooted in the central Christian mysteries and the commonly accepted tradition. What is specifically Catholic is not defended polemically, but described in such a way that others can see, even from their own point of view, the inner consistency with the mystery affirmed by all. Here is a form of thought which is truly ecumenical precisely because it is fully Catholic. "We are not only interested in those aspects of the mystery of the Roman Catholic Church which set her apart from the other Christian communities, but also to show how often they are central beliefs by describing what is specifically Catholic in such a way that the partner in dialogue can see, even from his own standpoint, the inner consistency." -Hans Urs von Balthasar

This is a comprehensive study of the life of Nasir-Khusraw, one of the foremost poets of the Persian language and a major Ismaili thinker and writer. Celebrated for a poetry that combines art with philosophy, trusted for the details of his travels throughout the Middle East, revered and criticized for his theological texts, he remains one of the most fascinating figures in Islamic history and literature. This volume also includes sections of his work.

My mother, born Mattie Mae Johnson was a very reserved and quietly strong woman. It seemed as if she was on guard most of the time. She had to endure a lot of underhanded mistreatment and disrespect from some people including relatives, that would criticized her behind her back because she had 8 children (six out of wedlock) that she was raising on her own and attempting to protect them the best way she could. She was a poor woman that was commonly discriminated against by men as was many women of her era that were born in the 19th and early 20th century America in that man’s world of it’s time. As a Mississippi born country girl that was raised on the farm, she did not have a city slicker mentality but she did have basic human values for doing the right thing and minding her own business. She never took illegal drugs, pills, drank alcohol, or sought any form of mind-altering chemicals in her life. She was a what-you-see-is-what-you-get person that would try to smile when she could.

At the forefront of the postwar phenomenon known as tropical modernism, Vladimir Ossipoff (1907 1998) won recognition as the master of Hawaiian architecture.” Although he practiced at a time of rapid growth and social change in Hawaii, Ossipoff criticized large-scale development and advocated environmentally sensitive designs, developing a distinctive form of architecture appropriate to the lush topography, light, and microclimates of the Hawaiian islands. This book is the first to focus on Ossipoff’s career, presenting significant new material on the architect and situating him within the tropical modernist movement and the cultural context of the Pacific region. The authors discuss how Ossipoff synthesized Eastern and Western influences, including Japanese building techniques and modern architectural principles. In particular, they demonstrate that he drew inspiration from the interplay of indoor and outdoor space as advocated by such architects as Frank Lloyd Wright, applying these to the concerns and vernacular traditions of the tropics. The result was a vibrant and glamorous architectural style, captured vividly in archival images and new photography. As the corporate projects and private residences that Ossipoff created for such clients as IBM, Punahou School, Linus Pauling, Jr., and Clare Boothe Luce surpass their fiftieth anniversaries, critical assessment of these structures, offered here by distinguished scholars in the field, will illuminate Ossipoff’s contribution to the universal challenge of making architecture that is delightfully particular to its place and durable over time.

The inventor of modernity   Violently criticized during his lifetime for his supposedly provocative paintings, French painter Edouard Manet (1832-1883) is now considered a master of inestimable importance in the history of painting. His 1863 painting "Déjeuner sur l’herbe" depicting two clothed men picnicing with a nude woman—now considered one of the most memorable images of the 19th century—stirred up controversy for what many considered its vulgar audacity. It was famously rejected by the Paris Salon and exhibited in the Salon des Refusés. Manet’s bold style helped pave the way from Realism to Impressionism, and in doing so ushered in the age of modern art.   About the Series: Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions