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This book about the best chess player of the 19th century analyzes Paul Morphy's games and positions in depth to get to the essence of his style. Chapters discuss other players of the period (Adolph Anderssen and Wilhelm Steinitz), Morphy's rare blunders and omissions, as well as selected endgames and openings. Also included are a 27-page essay on Morphy by Steinitz and a series of letters between Alexander Alekhine and Eugene Znosko-Borovsky debating Morphy's chess style. With large, clear diagrams, "this book should take its place among first-rank historical chess works." — USA Today Sports Network. 15 halftones.

To say that Paul McCarthy is a provocative artist is to make an understatement as gross as the artist's own infamous use of chocolate syrup and Santa Claus costumes. Since the late 1960s, McCarthy has pushed the boundaries of taboo through the media of performance art, sculpture, and video, aiming for ultimate catharsis via an inside-out journey through sticky layers of shock and provocation. In his early performance works, the artist used his own body as material, testing his physical limits amidst a mess of American condiments like mayonnaise and ketchup, plus a helping of fluids simulating bodily excretions. His attack on the values of the American way of life and on a society manipulated by the media continued into the 80s, when he began to produce mechanical sculptures that gradually replaced his own presence in the gallery. In the 90s, his ever expansive installations continued to break taboos in a theatrically drastic way, further exploring issues of violence and pornography, masturbation, birth, and death. LaLa Land is published in conjunction with the most extensive exhibition of McCarthy's work in Europe, which ran through the summer of 2005 at the Haus der Kunst in Munich. Included is the first published documentation of two new works on which the artist worked for several years, Pirate Project and Western Project, whose respective protagonists, pirates and cowboys, are drawn from common clichas and myths, as are so many of his characters. Here they are treated with McCarthy's characteristic irony and grotesque exaggeration. Complementing this documentation are video stills, drawings, and sculptures dating from the early 60s to the present, for an important overview of the artist's entire oeuvre.

This book about the best chess player of the 19th century analyzes Paul Morphy's games and positions in depth to get to the essence of his style. Chapters discuss other players of the period (Adolph Anderssen and Wilhelm Steinitz), Morphy's rare blunders and omissions, as well as selected endgames and openings. Also included are a 27-page essay on Morphy by Steinitz and a series of letters between Alexander Alekhine and Eugene Znosko-Borovsky debating Morphy's chess style. With large, clear diagrams, "this book should take its place among first-rank historical chess works." — USA Today Sports Network. 15 halftones.

Book about the best chess player of the nineteenth century analyzes his games and positions in depth, discusses other players of the period (Adolph Anderssen and Wilhelm Steinitz), Morphy's rare blunders and omissions, as well as selected endgames and openings. Diagrams.15 halftones.

Book about the best chess player of the nineteenth century analyzes his games and positions in depth, discusses other players of the period (Adolph Anderssen and Wilhelm Steinitz), Morphy's rare blunders and omissions, as well as selected endgames and openings. Diagrams.15 halftones.

To say that Paul McCarthy is a provocative artist is to make an understatement as gross as the artist's own infamous use of chocolate syrup and Santa Claus costumes. Since the late 1960s, McCarthy has pushed the boundaries of taboo through the media of performance art, sculpture, and video, aiming for ultimate catharsis via an inside-out journey through sticky layers of shock and provocation. In his early performance works, the artist used his own body as material, testing his physical limits amidst a mess of American condiments like mayonnaise and ketchup, plus a helping of fluids simulating bodily excretions. His attack on the values of the American way of life and on a society manipulated by the media continued into the 80s, when he began to produce mechanical sculptures that gradually replaced his own presence in the gallery. In the 90s, his ever expansive installations continued to break taboos in a theatrically drastic way, further exploring issues of violence and pornography, masturbation, birth, and death. LaLa Land is published in conjunction with the most extensive exhibition of McCarthy's work in Europe, which ran through the summer of 2005 at the Haus der Kunst in Munich. Included is the first published documentation of two new works on which the artist worked for several years, Pirate Project and Western Project, whose respective protagonists, pirates and cowboys, are drawn from common clichas and myths, as are so many of his characters. Here they are treated with McCarthy's characteristic irony and grotesque exaggeration. Complementing this documentation are video stills, drawings, and sculptures dating from the early 60s to the present, for an important overview of the artist's entire oeuvre.

Wilhelm Schmidt, a young German diplomat, is stationed at the consulate in St. Paul, Minnesota, during the time the United States is being drawn into World War II. His arrest for spying lands him in a prisoner-of-war camp in southern Minnesota where he meets and falls in love with a local farm girl, Laura Wojtek. Laura is torn between her attraction to Wilhelm and her commitment to Joe, an Army Air Corps pilot on duty in Europe. Wilhelm survives the persecution of his die-hard Nazi colleague, Otto Domeier, but is sent back to Germany against his will, where he encounters his homeland in ruins. His journey is a story of conflicted loyalties, ill-fated love, and eventual reconciliation.

Calvinus Sacrae Scripturae Professor collects the paper presentations and seminar reports by the following prominent international Calvin scholars: Heiko A. Oberman, James A. DeJong, James B. Torrance, Wilhelm H. Neuser, Paul E. Rorem, Richard C. Gamble, Richard Hörcsik, Cornelis Augustijn, Luke Anderson, Erik A. de Boer, I. John Hesselink, Francis M. Higman, Nobuo Watanabe, Irena Backus, Adrianus D. Pont, Mitsuru Shimura, Jeffrey R. Watt, and Kwang-Woong Yu. Ranging from essays on Calvin's spirituality to his life in Geneva and Strasbourg, this volume is a sourcebook of the brightest scholarship in Calvin studies, covering many of the most significant areas of current inquiry.

A generous selection of poems by Hans Arp, Bertolt Brecht, Gunter Grass, Wilhelm Lehmann, Gottfried Benn, Yvan Goll, Nelly Sachs, Peter Huchel, Gunter Eich, Christine Lavant, Joannes Bobrowski, Paul Celan, Helmut Heissenbuttel, Ernst Jandl, Ingeborg Bachmann, Hans Magnus Enzensberger, and Gunter Kunert, printed in German, with an Introduction in English.

With the emergence of "cultural studies" and the blurring of once-clear academic boundaries, scholars are turning to subjects far outside their traditional disciplines and areas of expertise. In Higher Superstition scientists Paul Gross and Norman Levitt raise serious questions about the growing criticism of science by humanists and social scientists on the "academic left." This paperback edition of Higher Superstition includes a new afterword by the authors.

With the emergence of "cultural studies" and the blurring of once-clear academic boundaries, scholars are turning to subjects far outside their traditional disciplines and areas of expertise. In Higher Superstition scientists Paul Gross and Norman Levitt raise serious questions about the growing criticism of science by humanists and social scientists on the "academic left." This paperback edition of Higher Superstition includes a new afterword by the authors.