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Laura E. Smith unravels the compelling life story of Kiowa photographer Horace Poolaw (1906–84), one of the first professional Native American photographers. Born on the Kiowa reservation in Anadarko, Oklahoma, Poolaw bought his first camera at the age of fifteen and began taking photos of family, friends, and noted leaders in the Kiowa community, also capturing successive years of powwows and pageants at various fairs, expositions, and other events. Though Poolaw earned some income as a professional photographer, he farmed, raised livestock, and took other jobs to help fund his passion for documenting his community.                  Smith examines the cultural and artistic significance of Poolaw’s life in professional photography from 1925 to 1945 in light of European and modernist discourses on photography, portraiture, the function of art, Native American identity, and American Indian religious and political activism. Rather than through the lens of Native peoples’ inevitable extinction or within a discourse of artistic modernism, Smith evaluates Poolaw’s photography within art history and Native American history, simultaneously questioning the category of “fine artist” in relation to the creative lives of Native peoples.                  A tour de force of art and cultural history, Horace Poolaw, Photographer of American Indian Modernity illuminates the life of one of Native America’s most gifted, organic artists and documentarians and challenges readers to reevaluate the seamlessness between the creative arts and everyday life through its depiction of one man’s lifelong dedication to art and community.     

Horace by GlassesShop features a chunky frame and classic wayframe shape. This pair of eyewear offers comfort and a simple, but bold look. OUR RECOMMENDATION:A classic wayframe shape will fit most face shapes! However, these will look especially stylish on those with round, diamond and oval shaped faces. Of course, you know yourself best, so if you pick these, we're positive you can rock them! Styles: Nerd.

The plush comfort of overstuffed cushions is seductively inviting in the transitional Horace club chair. Artfully upholstered in antique black bicast leather, and generously studded with silver nailheads. This arm chair invites lounging in high style. Color: Antique Black/Black.

The Faux Sheepskin X-Square Bench was designed for the modern tastemaker. Enveloped in a rich gold foil finish and gray faux curly sheepskin, its classic style makes it ideal for seating in the living room, bedroom or a powder room in need of instant lan. A great addition for your home whether you live in the country side or the busy city. Color: Gray/Gold.

A sharp hoodie that is sure to stun. Two patterns coming together to form a perfect pair. Paisley and polka dot perfection! 60% Cotton / 40% Modal Jersey Machine wash cold. Tumble dry low.

A sharp hoodie that is sure to stun. Two patterns coming together to form a perfect pair. Paisley and polka dot perfection! 60% Cotton / 40% Modal Jersey Machine wash cold. Tumble dry low.

A sharp hoodie that is sure to stun. Two patterns coming together to form a perfect pair. Paisley and polka dot perfection! 60% Cotton / 40% Modal Jersey Machine wash cold. Tumble dry low.

A sharp hoodie that is sure to stun. Two patterns coming together to form a perfect pair. Paisley and polka dot perfection! 60% Cotton / 40% Modal Jersey Machine wash cold. Tumble dry low.

A sharp hoodie that is sure to stun. Two patterns coming together to form a perfect pair. Paisley and polka dot perfection! 60% Cotton / 40% Modal Jersey Machine wash cold. Tumble dry low.

Salieri: Les Horaces Christophe Rousset - CD 5051083130417

A sharp hoodie that is sure to stun. Two patterns coming together to form a perfect pair. Paisley and polka dot perfection! 60% Cotton / 40% Modal Jersey Machine wash cold. Tumble dry low.

The Odes of Horace are the cornerstone of lyric poetry in the Western world. This edition of the Odes was first published in the outstanding ‘red Macmillan' series, in which it finally replaced the late nineteenth century edition of T.E. Page.Quinn's edition is designed to meet the need for a modern approach to students in upper school and university. He begins with the assumption that Horace is a major poet, and that the Odes should be recognised and enjoyed as poetry. The commentary provides linguistic aid at the appropriate level but also attempts to reconstruct the thesis upon which each poem rests, and to interpret it as a structural and poetic whole for the attentive and responsive reader.

Pierre Corneille (1608-84) created French classical tragedy with Le Cid, Horace, Cinna and Polyeucte. Le Cid has claimed more attention, but no work of its time packs more power than Horace. The introduction and other background material by David Clarke, a leading British Corneille expert, make this an up-to-date and appealing edition for both students (of drama/French/comparative literature), general readers, and the theater audience. Corneille used his rhetorical power and brilliant dramaturgical skills to comment on the issues of his day -- in this case, French national ambitions in Europe. His comment remains relevant three centuries later.

The poetry of Horace (born 65 BCE) is richly varied, its focus moving between public and private concerns, urban and rural settings, Stoic and Epicurean thought. Here is a new Loeb Classical Library edition of the great Roman poet's Odes and Epodes, a fluid translation facing the Latin text.Horace took pride in being the first Roman to write a body of lyric poetry. For models he turned to Greek lyric, especially to the poetry of Alcaeus, Sappho, and Pindar; but his poems are set in a Roman context. His four books of odes cover a wide range of moods and topics. Some are public poems, upholding the traditional values of courage, loyalty, and piety; and there are hymns to the gods. But most of the odes are on private themes: chiding or advising friends; speaking about love and amorous situations, often amusingly. Horace's seventeen epodes, which he called iambi, were also an innovation for Roman literature. Like the odes they were inspired by a Greek model: the seventh-century iambic poetry of Archilochus. Love and political concerns are frequent themes; here the tone is generally that of satirical lampoons. "In his language he is triumphantly adventurous," Quintilian said of Horace; this new translation reflects his different voices.

Book is in NEW condition. 1.19

From his arrival in New York City in 1831 as a young printer from New Hampshire to his death in 1872 after losing the presidential election to General Ulysses S. Grant, Horace Greeley (b. 1811) was a quintessential New Yorker. He thrived on the city’s ceaseless energy, with his New York Tribune at the forefront of a national revolution in reporting and transmitting news. Greeley devoured ideas, books, fads, and current events as quickly as he developed his own interests and causes, all of which revolved around the concept of freedom. While he adored his work as a New York editor, Greeley’s lifelong quest for universal freedom took him to the edge of the American frontier and beyond to Europe. A major figure in nineteenth-century American politics and reform movements, Greeley was also a key actor in a worldwide debate about the meaning of freedom that involved progressive thinkers on both sides of the Atlantic, including Margaret Fuller, Ralph Waldo Emerson, and Karl Marx.Greeley was first and foremost an ardent nationalist who devoted his life to ensuring that America live up to its promises of liberty and freedom for all of its members. Robert C. Williams places Greeley’s relentless political ambitions, bold reform agenda, and complex personal life into the broader context of freedom. Horace Greeley is as rigorous and vast as Greeley himself, and as America itself in the long nineteenth century.In the first comprehensive biography of Greeley to be published in nearly half a century, Williams captures Greeley from all sides: editor, reformer, political candidate, eccentric, and trans-Atlantic public intellectual; examining headlining news issues of the day, including slavery, westward expansion, European revolutions, the Civil War, the demise of the Whig and the birth of the Republican parties, transcendentalism, and other intellectual currents of the era.

During the Roman transition from Republic to Empire in the first century B.C.E., the poet Horace found his own public success in the era of Emperor Augustus at odds with his desire for greater independence. In Horace between Freedom and Slavery, Stephanie McCarter offers new insights into Horace's complex presentation of freedom in the first book of his Epistles and connects it to his most enduring and celebrated moral exhortation, the golden mean.She argues that, although Horace commences the Epistles with an uncompromising insistence on freedom, he ultimately adopts a middle course. She shows how Horace explores in the poems the application of moderate freedom first to philosophy, then to friendship, poetry, and place. Rather than rejecting philosophical masters, Horace draws freely on them without swearing permanent allegiance to any—a model for compromise that allows him to enjoy poeticrenown and friendships with the city's elite while maintaining a private sphere of freedom. This moderation and adaptability, McCarter contends, become the chief ethical lessons that Horace learns for himself and teaches to others. She reads Horace's reconfiguration of freedom as a political response to the transformations of the new imperial age.