In California's imaginary Hall of Fame, Bret Harte must be accorded a prominent, if not first place. His short stories and dialect poems published fifty years ago made California well known the world over and gave it a romantic interest conceded no other community. He saw the picturesque and he made the world see it. His power is unaccountable if we deny him genius. He was essentially an artist. His imagination gave him vision, a new life in beautiful setting supplied colors and rare literary skill painted the picture. His capacity for absorption was marvelous. At the age of about twenty he spent less than a year in the foot-hills of the Sierras, among pioneer miners, and forty-five years of literary output did not exhaust his impressions. He somewhere refers to an "eager absorption of the strange life around me, and a photographic sensitiveness, to certain scenes and incidents." "Eager absorption," "photographic sensitiveness," a rich imagination and a fine literary style, largely due to his mother, enabled him to win at his death this acknowledgment from the "London Spectator: " "No writer of the present day has struck so powerful and original a note as he has sounded."
Developed by New Zealand reading specialist and author, Pam Holden, this exciting reading program offers an extensive range of illustrated fiction and photographic non-fiction titles at graded levels. Red Rocket Readers offer a carefully controlled sequence of challenges throughout the levels to ensure students progress with confidence and enthusiasm.
A Philosophy of Cinematic Art is a systematic study of cinema as an art form, showing how the medium conditions fundamental features of cinematic artworks. It discusses the status of cinema as an art form, whether there is a language of film, realism in cinema, cinematic authorship, intentionalist and constructivist theories of interpretation, cinematic narration, the role of emotions in responses to films, the possibility of identification with characters, and the nature of the cinematic medium. Groundbreaking in its coverage of a wide range of contemporary cinematic media, it analyses not only traditional photographic films, but also digital cinema, and a variety of interactive cinematic works, including videogames. Written in a clear and accessible style, the book examines the work of leading film theorists and philosophers of film, and develops a powerful framework with which to think about cinema as an art.
The lens is generally the most expensive and least understood part of any camera. In this book, Rudolf Kingslake traces the historical development of the various types of lenses from Daguerre's invention of photography in 1839 through lenses commonly used today.
Lionel Giles's 1910 edition is the most scholarly and presents the reader an incredible amount of information concerning Sun Tzu's text, much more than any other translation. The Giles' edition of the ART OF WAR was a scholarly work. Dr. Giles was a leading sinologue at the time and an assistant in the Department of Oriental Printed Books and Manuscripts in the British Museum. Apparently he wanted to produce a definitive edition, superior to anything else that existed and perhaps something that would become a standard translation. It was the best translation available for 50 years. But apparently there was not much interest in Sun Tzu in English speaking countries since it took the start of the Second World War to renew interest in his work. Several people published unsatisfactory English translations of Sun Tzu. In 1944, Dr. Giles' translation was edited and published in the United States in a series of military science books. But it wasn't until 1963 that a good English translation (by Samuel B. Griffith) was published that was an equal to Giles' translation. While this translation is more lucid than Dr. Giles' translation, it lacks his copious notes that make his so interesting. Dr. Giles produced a work primarily intended for scholars of the Chinese civilization and language.
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