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For New condition books; You will be the first to open the book cover. For Used condition books; It shows signs of wear from consistent use, but it remains in good condition and works perfectly. There are no problems in page content and in the paper. Shipping fast. All pages and covers are readable. May be ex-library book, and may not include any access codes, CDs or DVDs. All pages and cover are intact , but may have aesthetic issues such as price clipping, nicks, scratches, and scuffs. Pages may include some notes and highlighting. Tracking provided on most orders. 100% Satisfaction is Guaranteed!

Length from bust to hem of size S: 132cm. Maxi dress. Lined. Model is a standard XS and is wearing size XS. True to size. Stretch. Underwire. Sequins. Halterneck tie. Inner grip. Split. Zipper with hook eye closure. Cold hand wash only. Main: Polyester/Spandex Beads: PET Lining: Polyester. Please Note: This style is exclusive to Dear Emilia.   Make your grand entrance in the DEAR EMILIA True Resemblance Sequin Maxi Dress. Featuring a halterneck tie design, sparkly sequins, and a sultry split. Style with heels and curls for an impressive look. 

Resemblance Mikkel Metal - LP 880319738630

For New condition books; You will be the first to open the book cover. For Used condition books; It shows signs of wear from consistent use, but it remains in good condition and works perfectly. There are no problems in page content and in the paper. Shipping fast. All pages and covers are readable. May be ex-library book, and may not include any access codes, CDs or DVDs. All pages and cover are intact , but may have aesthetic issues such as price clipping, nicks, scratches, and scuffs. Pages may include some notes and highlighting. Tracking provided on most orders. 100% Satisfaction is Guaranteed!

Art today may be global, Robert Linsley argues in this book, but it is the same everywhere you go: full of intentional meaning, statements, and even branded images that insist on a particular message. That is to say, art everywhere is conceptual. In this first critique of global conceptual art, Linsley looks back at an older genre, abstract art, to reclaim some of its lost value—not as an empty commodity to be traded by the wealthy but as a way for us to find perspective amid chaos.             Linsley shows how abstraction is a response to the world we live in, one that deliberately avoids moralizing, explanation, or overt polemic. He champions the work of lesser-known but important artists from India, China, and Latin and Central America, such as Vasudeo S. Gaitonde, Ding Yi and Gunther Gerzso as well as the more familiar names from history, such as Lucio Fontana, Frank Stella and Gerhard Richter, treating their work with equal seriousness. He also looks toward abstract art’s future, showing that it still has plenty of life and purpose as a genre that helps us find a clear space to make sense of the times we live in. Ultimately, Linsley demonstrates the unique, rich, and full experience that abstract art can give us. Richly illustrated, this book is a must-read for art historians and art lovers.  

This survey of historical and modern portraiture presents a fundamentally new and exciting exploration of how people view themselves, their personal relationships, and their tribes. Portraits―single, double, and group―are the focus of this fascinating volume. Encompassing work from the 18th century to the present, this selection examines how portraits shape our notion of self in the context of individuality, partnerships, and relationships. Three illustrated essays probe topics such as the portrait from the perspective of photography, cinema, and theater; the double portrait in all its variety, such as heterosexual and same-sex couples, mother and child, twins, reflections, shadows, and doppelgangers; and the sometimes uneasy alliance between the individual and community in portraiture. Thought-provoking and fascinating, this book will appeal to readers interested in art history and social criticism as well as psychology and social media.

Fifteen-year-old Karen spends the summer with her unusual Aunt Augusta and learns many things about love, life, and the complexities of growing up

In the spirit of Motherless Brooklyn or Remains of the Day, Allardice offers up a searing and memorable debut.When Paul McWeeney’s older sister writes a book accusing their late father of committing the gruesome Black Dahlia murder, based on memories her new therapist has helped her recover--or imagine--he sits down to write a cease and desist letter to the publishers. Paul hopes to refute his sister’s claims about their father’s role in the infamous 1947 murder, arguing for his own divergent memory of their Hollywood childhood by way of defending their father’s name and legacy. But the letter begins to take on a life of its own, and Paul, a failed novelist and community college writing instructor, soon finds himself on an obsessive, elliptical exploration of both his family’s history and his own conflicted memory, which begins to absorb his daily life and threaten his relationships with those closest to him. The letter becomes not the intended refutation but rather a disturbing and wildly comical psychological self-portrait of a man caught between increasingly unstable versions of the past.

Art today may be global, Robert Linsley argues in this book, but it is the same everywhere you go: full of intentional meaning, statements, and even branded images that insist on a particular message. That is to say, art everywhere is conceptual. In this first critique of global conceptual art, Linsley looks back at an older genre, abstract art, to reclaim some of its lost value—not as an empty commodity to be traded by the wealthy but as a way for us to find perspective amid chaos.             Linsley shows how abstraction is a response to the world we live in, one that deliberately avoids moralizing, explanation, or overt polemic. He champions the work of lesser-known but important artists from India, China, and Latin and Central America, such as Vasudeo S. Gaitonde, Ding Yi and Gunther Gerzso as well as the more familiar names from history, such as Lucio Fontana, Frank Stella and Gerhard Richter, treating their work with equal seriousness. He also looks toward abstract art’s future, showing that it still has plenty of life and purpose as a genre that helps us find a clear space to make sense of the times we live in. Ultimately, Linsley demonstrates the unique, rich, and full experience that abstract art can give us. Richly illustrated, this book is a must-read for art historians and art lovers.  

1st printing of this edition, in English, translated by Rosmarie Waldrop. Interior appears free of markings. Binding is tight, sturdy, and square. Unclipped DJ looks great. Almost near fine. With complete number line (first edition THUS). Ships same or next business day from Dinkytown in Minneapolis, Minnesota.

Twenty-five years after her mother's death, Nita DeLeon is sifting through family history and papers when she discovers an old letter from her Aunt Pancha hidden in an address book, a letter that sheds new light on her parents' lives in Guatemala and reveals an old family secret that could shed light on her own hidden heritage. By the author of Frontera Street. Original.

Generally the brain face are harmonious but that always the former is subservient to the latter The divining character by the skull is subordinate to the practical everyday reading to which the face is appropriated Illustrated by 300 engravings Partial Contents heads faces resemblances of human beings to beasts birds Resemblances of Germans to lions Prussians to cats human beings to apes Arabs to camels Englishmen to bulls Italians to horses Yankees to bears Russians to geese Frenchmen to frogs alligators certain persons to eagles owls ostriches rat hare vultures pigeons parrots mockingbirds

Generally the brain face are harmonious but that always the former is subservient to the latter The divining character by the skull is subordinate to the practical everyday reading to which the face is appropriated Illustrated by 300 engravings Partial Contents heads faces resemblances of human beings to beasts birds Resemblances of Germans to lions Prussians to cats human beings to apes Arabs to camels Englishmen to bulls Italians to horses Yankees to bears Russians to geese Frenchmen to frogs alligators certain persons to eagles owls ostriches rat hare vultures pigeons parrots mockingbirds

Perhaps one of the most controversial scholars of the classical era, Taqi al-Din Ibn Taymiyya s works in theology have been promoted by the modern day Salafi movement as an accurate representation of the creed of the predecessors [salaf]. In The Palmyran Creed, named after the ancient city of Palmyra (Tadmur, Syria), Ibn Taymiyya presents the foundations of his theology, expounds upon its principles and offers his arguments in support of it. At the heart of this lies his claim of affirming only what Allah and His Messenger (P.B.U.H) affirmed of the Divine attributes [sifat], without inquiring into the modality [takyif], drawing likeness [tamthil], or engaging in alteration [tahrif] and denial [ta til], ostensibly purifying Divine Oneness [tawhid]. In his critique of The Palmyran Creed, renowned contemporary theologian Shaykh Sa id Foudah clinically refutes Ibn Taymiyya s claim, demonstrating that it could not be further from the truth. The Taymiyyan theology of resemblance [tashbih] is deconstructed and the anthropomorphic premises [tajsim] for what Ibn Taymiyya considers to be the reality and attributes of Allah are revealed. Shaykh Sa'id establishes, rationally and textually, that ascriptions such as hands, eyes, face, shin, movement, direction, change, spatial contact, limits and boundaries are inconceivable with respect to Allah, and that nothing can possibly share in His reality. This ground breaking work elevates contemporary Muslim discourse beyond superficial polemics and into deeper realms of the rational sciences.

This through-body porcelain tile from Italy bears a striking resemblance to natural stone-complete with warm tones, natural veining, and a smooth matte finish. The handsome, highly versatile LithoTech collection has practical appeal as well, including slip resistance and durability. It's an ideal choice for both residential and commercial projects-any place where aesthetics and functionality are desired in equal measure. The collection is available in a full suite of formats-from delicate mosaics to hardworking pavers. Color: Chalk White.

This through-body porcelain tile from Italy bears a striking resemblance to natural stone-complete with warm tones, natural veining, and a smooth matte finish. The handsome, highly versatile LithoTech collection has practical appeal as well, including slip resistance and durability. It's an ideal choice for both residential and commercial projects-any place where aesthetics and functionality are desired in equal measure. The collection is available in a full suite of formats-from delicate mosaics to hardworking pavers. Color: Chalk White.

This through-body porcelain tile from Italy bears a striking resemblance to natural stone-complete with warm tones, natural veining, and a smooth matte finish. The handsome, highly versatile LithoTech collection has practical appeal as well, including slip resistance and durability. It's an ideal choice for both residential and commercial projects-any place where aesthetics and functionality are desired in equal measure. The collection is available in a full suite of formats-from delicate mosaics to hardworking pavers. Color: Graphite Gray.

Timeless limestone gets a modern upgrade with the Provence collection of Italian-made, semi-polished, porcelain tiles. Rendered in warm color tones, the tiles bear a striking resemblance to natural stone and are available in multiple sizes. The semigloss look comes from its unique Lappato finish. Color: White.

This through-body porcelain tile from Italy bears a striking resemblance to natural stone-complete with warm tones, natural veining, and a smooth matte finish. The handsome, highly versatile LithoTech collection has practical appeal as well, including slip resistance and durability. It's an ideal choice for both residential and commercial projects-any place where aesthetics and functionality are desired in equal measure. The collection is available in a full suite of formats-from delicate mosaics to hardworking pavers. Color: Greige Beige.

Timeless limestone gets a modern upgrade with the Provence collection of Italian-made, semi-polished, porcelain tiles. Rendered in warm color tones, the tiles bear a striking resemblance to natural stone and are available in multiple sizes. The semigloss look comes from its unique Lappato finish. Color: White.