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Consider this modern bedside shelve as a display unit to complete your fantasy living room. This eye-catching display nightstand may be used to exhibit everything from incongruous nostalgic mementos to the valued collection of pottery, vintage books, or decorations made of gold-toned stainless steel. This gold shelve is built to withstand heavy usage for many years to come. In addition to adding a touch of modernity to a space, its clean lines well with a variety of design aesthetics to show off the most prized ornaments and plants with ease. - The four-tier shelving unit's elegant arched design and glitzy gold finish with two side arms are inspired by modern geometric architecture, ideal for expanding your living space and showcasing your most prized possessions. - The open-shelving structure adds visual space with its white shelves and brass metal gold frame to brighten up any area.

Once the world’s tallest skyscraper, the Woolworth Building is noted for its striking but incongruous synthesis of Beaux-Arts architecture, fanciful Gothic ornamentation, and audacious steel-framed engineering. Here, in the first history of this great urban landmark, Gail Fenske argues that its design serves as a compelling lens through which to view the distinctive urban culture of Progressive-era New York.             Fenske shows here that the building’s multiplicity of meanings reflected the cultural contradictions that defined New York City’s modernity. For Frank Woolworth—founder of the famous five-and-dime store chain—the building served as a towering trademark, for advocates of the City Beautiful movement it suggested a majestic hotel de ville, for technological enthusiasts it represented the boldest of experiments in vertical construction, and for tenants it provided an evocative setting for high-style consumption. Tourists, meanwhile, experienced a spectacular sightseeing destination and avant-garde artists discovered a twentieth-century future. In emphasizing this faceted significance, Fenske illuminates the process of conceiving, financing, and constructing skyscrapers as well as the mass phenomena of consumerism, marketing, news media, and urban spectatorship that surround them.            As the representative example of the skyscraper as a “cathedral of commerce,” the Woolworth Building remains a commanding presence in the skyline of lower Manhattan, and the generously illustrated Skyscraper and the City is a worthy testament to its importance in American culture.

In 1999, a seemingly incongruous collection of protestors converged in Seattle to shut down the meetings of the World Trade Organization. Union leaders, environmentalists dressed as endangered turtles, mainstream Christian clergy, violence-advocating anarchists, gay and lesbian activists, and many other diverse groups came together to protest what they saw as the unfair power of a nondemocratic elite. But how did such strange bedfellows come together? And can their unity continue? In 1972―another period of social upheaval―sociologist Colin Campbell posited a "cultic milieu": An underground region where true seekers test hidden, forgotten, and forbidden knowledge. Ideas and allegiances within the milieu change as individuals move between loosely organized groups, but the larger milieu persists in opposition to the dominant culture. Jeffrey Kaplan and Helene Loow find Campbell's theory especially useful in coming to grips with the varied oppositional groups of today. While the issues differ, current subcultures often behave in similar ways to deviant groups of the past. The Cultic Milieu brings together scholars looking at racial, religious and environmental oppositional groups as well as looking at the watchdog groups that oppose these groups in turn. While providing fascinating information on their own subjects, each essay contributes to a larger understanding of our present-day cultic milieu. For classes in the social sciences or religious studies, The Cultic Milieu offers a novel way to look at the interactions and ideas of those who fight against the powerful in our global age.

In 1999, a seemingly incongruous collection of protestors converged in Seattle to shut down the meetings of the World Trade Organization. Union leaders, environmentalists dressed as endangered turtles, mainstream Christian clergy, violence-advocating anarchists, gay and lesbian activists, and many other diverse groups came together to protest what they saw as the unfair power of a nondemocratic elite. But how did such strange bedfellows come together? And can their unity continue? In 1972―another period of social upheaval―sociologist Colin Campbell posited a "cultic milieu": An underground region where true seekers test hidden, forgotten, and forbidden knowledge. Ideas and allegiances within the milieu change as individuals move between loosely organized groups, but the larger milieu persists in opposition to the dominant culture. Jeffrey Kaplan and Helene Loow find Campbell's theory especially useful in coming to grips with the varied oppositional groups of today. While the issues differ, current subcultures often behave in similar ways to deviant groups of the past. The Cultic Milieu brings together scholars looking at racial, religious and environmental oppositional groups as well as looking at the watchdog groups that oppose these groups in turn. While providing fascinating information on their own subjects, each essay contributes to a larger understanding of our present-day cultic milieu. For classes in the social sciences or religious studies, The Cultic Milieu offers a novel way to look at the interactions and ideas of those who fight against the powerful in our global age.

"An alphabet book that is ingenious, fun, and accessible...each page is an exciting visual experience. The artist juxtaposes an incongruous assortment of objects beginning with the same letter, all of the items being neatly and clearly labeled...Should be at the top of everyone's list of essential purchases."-Starred/The Horn Book

John E. Mylroie and Ira D. Sasowsky' Caves occupy incongruous positions in both our culture and our science. The oldest records of modem human culture are the vivid cave paintings from southern France and northern Spain, which are in some cases more than 30,000 years old (Chauvet, et ai, 1996). Yet, to call someone a "caveman" is to declare them primitive and ignorant. Caves, being cryptic and mysterious, occupied important roles in many cultures. For example, Greece, a country with abundant karst, had the oracle at Delphi and Hades the god of death working from caves. People are both drawn to and mortified by caves. Written records ofcave exploration exist from as early as 852 BC (Shaw, 1992). In the decade of the 1920's, which was rich in news events, the second biggest story (as measured by column inches of newsprint) was the entrapment of Floyd Collins in Sand Cave, Kentucky, USA. This was surpassed only by Lindbergh's flight across the Atlantic (Murray and Brucker, 1979).

John E. Mylroie and Ira D. Sasowsky' Caves occupy incongruous positions in both our culture and our science. The oldest records of modem human culture are the vivid cave paintings from southern France and northern Spain, which are in some cases more than 30,000 years old (Chauvet, et ai, 1996). Yet, to call someone a "caveman" is to declare them primitive and ignorant. Caves, being cryptic and mysterious, occupied important roles in many cultures. For example, Greece, a country with abundant karst, had the oracle at Delphi and Hades the god of death working from caves. People are both drawn to and mortified by caves. Written records ofcave exploration exist from as early as 852 BC (Shaw, 1992). In the decade of the 1920's, which was rich in news events, the second biggest story (as measured by column inches of newsprint) was the entrapment of Floyd Collins in Sand Cave, Kentucky, USA. This was surpassed only by Lindbergh's flight across the Atlantic (Murray and Brucker, 1979).

This book defines the real meaning of over 1,000 management terms. The shock of recognition, the juxtaposition of incongruous facts and fictions, and the undermining of authority, all combine to create a humourous debunking of the world of work. As a funny business tool kit, it provides antidotes to obfuscation and ammunition with which to fight obscurantism. Defend yourself against the jargon and the cliches of business and government!

Once the world’s tallest skyscraper, the Woolworth Building is noted for its striking but incongruous synthesis of Beaux-Arts architecture, fanciful Gothic ornamentation, and audacious steel-framed engineering. Here, in the first history of this great urban landmark, Gail Fenske argues that its design serves as a compelling lens through which to view the distinctive urban culture of Progressive-era New York.             Fenske shows here that the building’s multiplicity of meanings reflected the cultural contradictions that defined New York City’s modernity. For Frank Woolworth—founder of the famous five-and-dime store chain—the building served as a towering trademark, for advocates of the City Beautiful movement it suggested a majestic hotel de ville, for technological enthusiasts it represented the boldest of experiments in vertical construction, and for tenants it provided an evocative setting for high-style consumption. Tourists, meanwhile, experienced a spectacular sightseeing destination and avant-garde artists discovered a twentieth-century future. In emphasizing this faceted significance, Fenske illuminates the process of conceiving, financing, and constructing skyscrapers as well as the mass phenomena of consumerism, marketing, news media, and urban spectatorship that surround them.            As the representative example of the skyscraper as a “cathedral of commerce,” the Woolworth Building remains a commanding presence in the skyline of lower Manhattan, and the generously illustrated Skyscraper and the City is a worthy testament to its importance in American culture.

Hybrid films that straddle more than one genre are not unusual. But when seemingly incongruous genres are mashed together, such as horror and comedy, filmmakers often have to tread carefully to produce a cohesive, satisfying work. Though they date as far back as James Whale’s Bride of Frankenstein (1935), horror-comedies have only recently become popular attractions for movie goers.In The Laughing Dead: The Horror-Comedy Film from Bride of Frankenstein to Zombieland, editors Cynthia J. Miller and A. Bowdoin Van Riper have compiled essays on the comic undead that look at the subgenre from a variety of perspectives. Spanning virtually the entire sound era, this collection considers everything from classics like The Canterville Ghost to modern cult favorites like Shaun of the Dead. Other films discussed include Abbott and Costello Meet Frankenstein, Beetlejuice, Ghostbusters, House on Haunted Hill, ParaNorman, Scream, Vampire’s Kiss, and Zombieland.Contributors in this volume consider a wide array of comedic monster films—from heartwarming (The Book of Life) to pitch dark (The Fearless Vampire Killers) and even grotesque (Frankenhooker). The Laughing Dead will be of interest to scholars and fans of both horror and comedy films, as well as those interested in film history and, of course, the proliferation of the undead in popular culture.

A Broadway classic, a call to action, and an incredibly malleable popular song, "Ol' Man River" is not your typical musical theater standard. Written by Jerome Kern and Oscar Hammerstein II in the 1920s for Show Boat, "Ol Man River" perfectly blends two seemingly incongruous traits-the gravity of a Negro spiritual and the crowd-pleasing power of a Broadway anthem. Inspired by the voice of African American singer Paul Robeson, who adopted the tune for his own goals as an activist, "Ol' Man River" is both iconic and transformative. In Who Should Sing "Ol' Man River"? The Lives of an American Song, author Todd Decker examines how the song has shaped, and been shaped by, the African American experience. Yet "Ol' Man River" also transcends both its genre and original conception as a song written for an African American male. Beyond musical theater, this Broadway ballad has been reworked in musical genres from pop to jazz, opera to doo wop, rhythm and blues to gospel to reggae. Pop singers such as Bing Crosby, Frank Sinatra, and Judy Garland made "Ol' Man River" one of their signature songs. Jazz artists such as Bix Biederbecke, Duke Ellington, Dave Brubeck, Count Basie, and Keith Jarrett have all played "Ol' Man River," as have stars of the rock and roll era, such as Sam Cooke, Ray Charles, Aretha Franklin, the Temptations, Cher, and Rod Stewart. Black or white, male or female-anyone who sings "Ol' Man River" must confront and consider its charged racial content and activist history. Performers and fans of musical theater as well as students of the Civil Rights movement will find Who Should Sing "Ol' Man River" an unprecedented examination of a song that's played a groundbreaking role in American history.

In these black-and-white photographs, Koudelka looks at incongruous images, things laying about on sidewalks, and people in grainy and stark surroundings. These images are underpinned by Koudelka's stark composition and the graininess of the photographs themselves. The photographs are beautiful, not because they present pretty images, but because they reveal the realities and oddities of life. Nobel prize-winning poet Milosz contributes an essay on the meaning of exile that is thoughtful but doesn't add to the photographs, which need no words. A good choice for photography collections. Steven Hupp, Eisenhower P.L., Harwood Heights, Ill.Copyright 1988 Reed Business Information, Inc.

"A sensitive walk up any High Street is a Pilgrim's Progress" Phil Smith - playwright, walk-performance artist and author (Mythogeography and Counter-Tourism) - recently retraced W.G. Sebald's famous 'Rings of Saturn' walk round East Anglia. At one level On Walking describes this blistered walk from one incongruous B&B to the next, taking in places like Dunwich, Bungay, Covehithe, Orford Ness, Sutton Hoo and Rendlesham Forest - with their lost villages, Cold War testing sites, black dogs, white deer and alien trails. Phil Smith's walk soon becomes every bit as remarkable as Sebald's and he matches Sebald's erudition, originality and humour swathe for swathe. At a second level, the book sets out a unique kind of 'hyper-sensitised' walking for which the author is quietly famous. It burrows beneath the guidebook and the map, looks beyond the shopfront and Tudor facade and feels beneath the blisters and aches of the everyday. The Suffolk walk described here is an exemplary walk that goes beyond 'wandering around looking at stuff' and shows how every walk can be art, revolution and pilgrimage. At a third level, On Walking is an intellectual tour de force, encompassing Situationism, alchemy, dancing, jouissance, geology, psychogeography, 20th century cinema and old TV, architecture, grief, pilgrimage, WWII, the Cold War, Uzumaki, pub conversations, somatics and synchronicity.

Jason’s latest collection of full color comics indulges in his light and playful side, consisting of eleven wildly off-kilter stories that mix incongruous elements of pop culture and a variety of genres, pastiches and mash-ups in a delightful soupcon of graphic storytelling. Frida Kahlo is a hired killer. Santo, the Mexican wrestling film star, faces his ultimate challenge. The rise and fall of Chet Baker—told in six pages. Night of the Vampire Hunter. The last word on the JFK assassination conspiracies. A non-linear heist story that also somehow includes images by Magritte. A big bug story based on 1950s black-and-white films. And what would Van Morrison’s Moondance album look like if it was a horror comic? All as foretold by Nostradamus, of course. And all told by Jason, whose sly and elusive meanings are hidden beneath a beguilingly deadpan style.

The first overview in decades of the eerie allegories of de Chirico, forefather of surrealism and genius of uncanny connectionsGiorgio de Chirico began to develop his Pittura Metafisica, or Metaphysical Painting, around 1911, painting brooding, dreamy scenes of depopulated landscapes filled with incongruous objects. But though this is the work de Chirico is best known for, his Metaphysical Painting period lasted only until 1919, and he remained prolific and experimental throughout his entire long life (trying out, for example, a Return to Order and a Rubens-inspired neobaroque style). In Giorgio de Chirico: The Changing Face of Metaphysical Art, the first de Chirico overview in more than 20 years, scholar Victoria Noel-Johnson explores the artist’s entire, complex career and proposes a cohesive logic within its diversity. Organizing the artist’s works thematically and reading them through the Nietzschean philosophy to which the artist was famously devoted, Noel-Johnson argues that despite de Chirico’s many changes in style, technique, subject, composition and tone over the course of six decades, all of his works offer tangible visions of intangible philosophical concepts. Richly illustrated, this volume features works drawn from the artist’s foundation and some of the most prestigious museums and collections in Italy, presented alongside a rich core of archival documents including letters and period photographs. Italian artist, writer and proto-surrealist Giorgio de Chirico (1888–1978) began to develop his Pittura Metafisica after traveling in Milan, Florence and Turin between 1909 and 1911, where he was inspired by the bright Mediterranean light, sun-drenched piazzas and receding arcades―elements that would become essential visual motifs in his best-known works.

This book defines the real meaning of over 1,000 management terms. The shock of recognition, the juxtaposition of incongruous facts and fictions, and the undermining of authority, all combine to create a humourous debunking of the world of work. As a funny business tool kit, it provides antidotes to obfuscation and ammunition with which to fight obscurantism. Defend yourself against the jargon and the cliches of business and government!

Surreal and absurd pictures of cowboys, soldiers, criminals, inventors, and students are accompanied by humorously incongruous captions

Hybrid films that straddle more than one genre are not unusual. But when seemingly incongruous genres are mashed together, such as horror and comedy, filmmakers often have to tread carefully to produce a cohesive, satisfying work. Though they date as far back as James Whale’s Bride of Frankenstein (1935), horror-comedies have only recently become popular attractions for movie goers.In The Laughing Dead: The Horror-Comedy Film from Bride of Frankenstein to Zombieland, editors Cynthia J. Miller and A. Bowdoin Van Riper have compiled essays on the comic undead that look at the subgenre from a variety of perspectives. Spanning virtually the entire sound era, this collection considers everything from classics like The Canterville Ghost to modern cult favorites like Shaun of the Dead. Other films discussed include Abbott and Costello Meet Frankenstein, Beetlejuice, Ghostbusters, House on Haunted Hill, ParaNorman, Scream, Vampire’s Kiss, and Zombieland.Contributors in this volume consider a wide array of comedic monster films—from heartwarming (The Book of Life) to pitch dark (The Fearless Vampire Killers) and even grotesque (Frankenhooker). The Laughing Dead will be of interest to scholars and fans of both horror and comedy films, as well as those interested in film history and, of course, the proliferation of the undead in popular culture.

An examination of two seemingly incongruous areas of study: classical models of argumentation and modern modes of digital communication   What can ancient rhetorical theory possibly tell us about the role of new digital media technologies in contemporary public culture? Some central issues we currently deal with—making sense of information abundance, persuading others in our social network, navigating new media ecologies, and shaping broader cultural currents—also pressed upon the ancients.  Ancient Rhetorics and Digital Networks makes this connection explicit, reexamining key figures, texts, concepts, and sensibilities from ancient rhetoric in light of the glow of digital networks, or, ordered conversely, surveying the angles and tangles of digital networks from viewpoints afforded by ancient rhetoric. By providing an orientation grounded in ancient rhetorics, this collection simultaneously historicizes contemporary developments and reenergizes ancient rhetorical vocabularies.   Contributors engage with a variety of digital phenomena including remix, big data, identity and anonymity, memes and virals, visual images, decorum, and networking. Taken together, the essays in Ancient Rhetorics and Digital Networks help us to understand and navigate some of the fundamental communicative issues we deal with today.   Contributors Scott Haden Church / Nathan Crick / Rosa A. Eberly / Christopher J. Gilbert / E. Johanna Hartelius / Ekaterina V. Haskins / Gaines S. Hubbell / Jeremy David Johnson / Michele Kennerly / Arabella Lyon / Mari Lee Mifsud / Carolyn R. Miller / Damien Smith Pfister / Scott R. Stroud