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This is a groundbreaking examination of one of the most important artists in the Western tradition by one of the leading art historians and critics of the past half-century. In his first extended consideration of the Italian Baroque painter Michelangelo Merisi da Caravaggio (1573-1610), Michael Fried offers a transformative account of the artist's revolutionary achievement. Based on the A. W. Mellon Lectures in the Fine Arts delivered at the National Gallery of Art, The Moment of Caravaggio displays Fried's unique combination of interpretive brilliance, historical seriousness, and theoretical sophistication, providing sustained and unexpected readings of a wide range of major works, from the early Boy Bitten by a Lizard to the late Martyrdom of Saint Ursula. And with close to 200 color images, The Moment of Caravaggio is as richly illustrated as it is closely argued. The result is an electrifying new perspective on a crucial episode in the history of European painting.

Focusing on the emergence of the full-blown "gallery picture" in Rome during the last decade of the sixteenth century and the first decades of the seventeenth, Fried draws forth an expansive argument, one that leads to a radically revisionist account of Caravaggio's relation to the self-portrait; of the role of extreme violence in his art, as epitomized by scenes of decapitation; and of the deep structure of his epoch-defining realism. Fried also gives considerable attention to the art of Caravaggio's great rival, Annibale Carracci, as well as to the work of Caravaggio's followers, including Orazio and Artemisia Gentileschi, Bartolomeo Manfredi, and Valentin de Boulogne.

• Sales Rank: #1233387 in Books
• Brand: Brand: Princeton University Press
• Published on: 2010-08-17
• Original language: English
• Number of items: 1
• Dimensions: 11.22" h x 1.32" w x 8.60" l, 3.88 pounds
• Binding: Hardcover
• 328 pages

Features

• Used Book in Good Condition

From Publishers Weekly
This extravagantly produced, scholarly study of Caravaggio's art is based on six lectures given at the National Gallery of Art. Fried is rather like an extreme docent: this is no casual stroll. A professor of humanities and art history at Johns Hopkins, he winds through Caravaggio's oeuvre and several related themes: the use of mirrors and reflection; moments of extreme concentration and absorption; and events in and around the edges of the work. Fried pulls his thread taut, starting with the self-portrait--often just a torso or head--painted in front of a mirror and ending with the sword, made of reflective metal, that beheads John the Baptist. Caravaggio's works share the page with those of Dolci, Gentileschi, Manet, Courbet, and other artists, providing a place to continue looking, as Fried asks: "which way does a painting face?" In his response, Fried dares his reader to look into these paintings and see a reflection of what exists outside the frame. 194 color illus., 9 half-tones.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review
One of Choice's Outstanding Academic Titles for 2011
Winner of the 2010 PROSE Award in in Art History & Criticism, Association of American Publishers
A ARTFORUM T. J. Clark Best Book of the Year for 2010

"[B]ased on the A. W. Mellon Lectures in Fine Arts that Mr. Fried delivered in Washington in 2004, is a knotty, episodic, infinitely erudite investigation of, among other things, the pervasiveness of violence in Caravaggio's painting."--Holland Cotter, New York Times

"Fried is a persistent spectator, and his careful eye produces remarkable analysis that make for a thrilling read. . . . [H]is process of looking should be an inspiration to students of art history at many levels, and his observations about how viewers respond to paintings are thought-provoking. Finally, the extensive and outstanding illustrations in this handsome book are a perfect complement to Fried's interpretations."--Choice

"In this exquisitely illustrated volume, art historian Michael Fried binds Michelangelo Caravaggio's short life (1571-1610) and tumultuous times to the stirring innovations in his art, especially with regard to portraiture, violence and realism. With a little help from the master, Fried encapsulates Caravaggio's tempestuous personality, his place within the religious and political intrigues of the Baroque era, and his primary significance as an artist."--Globe & Mail

"No great surprise about my book of the year. I had been waiting for Michael Fried's The Moment of Caravaggio (Princeton University Press) ever since hearing an early version of its opening ideas in Berkeley years ago, and when the volume arrived it took me by storm. So The Moment of Caravaggio stands or falls, as art history mostly should, by the intensity and detail of its accounts of specific works: by its ability to extract a painting from the ordinary round of 'formal analysis,' iconography, and 'contextualization' and put the reader/viewer almost physically in a new kind of contact with it. This happens repeatedly in Fried's new study. The book's key analyses are beautiful and, pace the critics, often profoundly surprising. I found that as the book went on they more and more offered me a way--this is regularly the case with the arc of a Fried argument--to think about questions the author himself did not quite pose, or did not pose as I might want to. . . . In a manner typical of the writer at his best (and maybe this is what so gets up the nose of normal art history about him) his book has robbed me of the common-sensical ground on which and from which I thought I could see--could 'place'--a major artist. It made me aware of what Caravaggio's excessiveness might have been about. And it reminded me of the sheer strangeness--the preposterousness--of European painting's commitment to the real."--T. J. Clark, ArtForum

"So much has been written about the High Renaissance artist Caravaggio, it is hard to believe more could be said. But the illustrious Michael Fried, of Johns Hopkins University, manages to say considerably more in his trenchant re-examination of the dynamic painter's art. . . . Fried astounds the reader with thoughts about Caravaggio's use of the mirror in art, his fascination with the 'immersive' or 'specular' moment. . . . The book is lavishly illustrated and intellectually demanding, but given the greatness of the subject and the perspicacity of the author, both are certainly to be expected."--Tracey O'Shaughnessy, Republican-American

"Specifically, Fried's concern is with the 'coming into prominence of the autonomous and independent gallery picture in the Roman art world of the 1590s and early 1600s and the internal mechanisms by which such pictures seek 'crucially to establish the supreme fiction of ontological illusion that the beholder does not exist, that there is no one standing before the canvas'. In this context, Fried's study argues across radically different artistic periods . . . the better to construct an argument that is as big as it is granular."--Angus Trumble, TLS

From the Back Cover

"Seldom does one encounter a profoundly surprising yet rigorously historical reading of a very familiar work; in The Moment of Caravaggio this happens with painting after painting. Though an account primarily of Caravaggio and his circle, Fried's discussions of address, of autonomy, of interiority, and of the dispositif of easel painting, among other topics, will resonate across the field. Every scholar of early modern art should read this book."--Michael W. Cole, Columbia University

"No one sees paintings better than Michael Fried, or thinks as persistently or with such philosophical depth about such seeing, about the very possibility of pictorial meaning. The Moment of Caravaggio is a spectacular, compelling addition to his oeuvre. An engrossing and often simply thrilling read, the book is a triumph."--Robert B. Pippin, University of Chicago

"This is a dazzling tour de force. Michael Fried's readings of a series of Caravaggio's most fascinating and enigmatic pictures keep one turning the pages with the greatest pleasure. Fried's arguments are compelling, muscular, and graceful."--Leonard Barkan, Princeton University

Most helpful customer reviews

32 of 34 people found the following review helpful.
The text's the thing; the images are accessories
By J. Faulk
Of the 201 reproductions (mostly color), 134 are by OTHER artists, and only 67 are by Caravaggio (including repeats and details) and reference only 39 of his paintings. Fried's lectures concentrate on 25 of these 39. (Sebastian Schutze's catalogue raisonne, The Complete Works of Caravaggio, 2009, comprises 67 paintings.) Fried chooses to discuss only Caravaggio's portable gallery or easel paintings and excludes works installed in churches.

Though the present volume measures 8 in. W x 11 in. H, the reproductions are about 8 in. H x 6 in. W, 5 in. x 6 in., 3 in. x 4 in., and smaller. Color accuracy is fine. These items comprise the slides in Fried's six Andrew W. Mellon Lectures at the National Gallery of Art in 2002. In the book, Fried preserves his lecture format, but he embellished the originals (and much expanded lectures 4 and 5) during manuscript preparation in 2007-2008.

LECTURES

(1) Boy Bitten by a Lizard [ca. 1595-96, National Gallery, London]. One of the most discussed canvases of the master. Usually considered to be Caravaggio himself. A "mirror" painting in which the hands and arms are deftly deprived of the brush and palette. Mirror self-portraits of many other artists are examined, up to Max Liebermann (1930).

(2) Immersion and Specularity. The self-portraitist engages in an ongoing, repetitive, partly automatistic act of painting--that is, immersion. Then he recoils, becomes detached from it, sees the image-artifact--thus, the experience of specularity.

(3) Invention of Absorption. In French paintings from the mid-eighteenth century on, there is the problematic of absorption--the depiction of figures so deeply engrossed in what they are doing, feeling, and thinking that they seem wholly unaware of anything else, including the presence of the viewer before the painting. Absorption fast became a major resource for Western painting in certain works by Caravaggio.

(4) Skepticism, Shakespeare, Address, Density. Caravaggio's canvases are fraught with new significance--psychological, epistemological, ontological--that bear an intimate and complex relation to the stakes of Shakespearean tragedy, underpinned by skepticism. "Absorption" in the 1590s-1600s was accompanied by an antithetical or polar emphasis on "address," the depiction of figures not only facing the viewer but seemingly confronting him with great force and specificity. As early as 1596-1597, Caravaggio's "The Rest on the Flight into Egypt" shows the artist's ability to confer on a gallery painting only about 4 feet high x 5 feet wide a "density" of depicted and implied relationships.

(5) Severed Representations. The repulsing or "severing" of the beholder from the painted image implies a very particular relationship, often associated with death-dealing violence as sublimated in Caravaggio's "Narcissus" or explicit in "Judith and Holofernes." Fried discusses the artists of the Carracci family, including the use of ellipsis, which cuts out the pictorial artifact from its surroundings by occluding some figures, as by the straight edge of the canvas. Fried also turns his attention to Orazio Gentileschi and his daughter Artemisia, and some artists classed together as Caravaggisti.

(6) Internal Structure of the Pictorial Act. As exemplified in The Calling... and The Martyrdom of Saint Matthew, The Taking of Christ, The Beheading of Saint John the Baptist, The Martyrdom of Saint Ursula.

In his Introduction and his Conclusion, Fried says he can hardly compress the subject matter of this book: Read on. I found the text manageable by eye, but maybe rather complex for the ears of the lecture audience.

A poet himself, Michael Fried, Ph.D., ends the book with a lengthy anecdote about Paul Celan, Georg Buchner, J. M. R. Lenz, and J. F. Oberlin. Just so he can say that Caravaggio, with his antagonism toward idealism and the puppets of mannerism, was prompted to go beyond what is human, into a realm which is turned toward the human, but uncanny, as done with greatest lucidity in The Martyrdom of Saint Ursula.

AUTHOR

Born 1939 in New York City, Michael Fried is a wide-ranging art historian, critic, and theorist with extensive writing credits. But controversial, as evidenced by Amazon reviews of his previous books. His trilogy--Absorption and Theatricality (1980), Courbet's Realism (1990), Manet's Modernism (1996)--influence the present Caravaggio book.

READERS

Many of us are immediately gripped by the obvious: the artist's chiaroscuro, decapitations, sexual orientation, troublesome temper, tragic death. But Fried takes us well beyond such, into the dozens of perceptions that the paintings yield up (such as small distorted reflections of the artist's face in a glass object or polished armor, or the subtle clues in the darkened milieu of The Calling of Saint Matthew). And be reminded: Over the centuries, some of these paintings have undergone multiple repairs or cleanings, possibly sometimes not to best effect; for example, in the eighteenth century some were varnished, resulting in a yellowing. Surprises await you.

10 of 11 people found the following review helpful.
Better for the Lecture Hall than for the art lover's library
By Grady Harp
That Michael Fried is a learned scholar is well known and probably understated. His lectures here for the National Art Gallery are rich in intellectual research and challenge for discovering the motivations and comparisons of the work of Caravaggio. And while there is much to be learned form this hefty book, the information seems a bit heavy for the reader who wants to further explore the genius of the great Italian painter. The portions that approach Caravaggio's enhancement of the concept of the self portrait is fascinating as is his drawn out study of the artist's 'obsession ' with violence.

The problem with the book is that in the end it feels less about Caravaggio than about the period in which he painted and the influences that both preceded and proceeded painter - even to the amount of visual space allotted to the works of Caravaggio. The quality of the book is excellent in design and in production and no one will argue that the information within the covers is instructive. For those who are already committed admirers of the artist and are looking for fresh information about this controversial artist, this book will probably seem too heavily weighted in academic glossolalia. But for the university or art school library this is a worth addition. Grady Harp, December 10

5 of 5 people found the following review helpful.
Caravaggio
By toronto
This is obviously a book for the academic scholar working on Caravaggio, not for someone who wants a standard biography or even a straightforward critical appraisal. It is essentially the fourth in a series that Fried has been working on for many years on the question of the relationship between the viewer and the work of art (and of course the artist). Fried is famous for the concept of "theatricality" : the demand that a work (and/or its content) have a viewer or audience present. This is compared to what we could call "overhearing" or "absorption" where we are not so much spectators, as drawn in and involved -- the painting and its subjects are autonomous in a sense. (A good example of this would be one of Georges de La Tour's Mary Magdalene pictures, where she stares at a candle or a skull, pondering her sins. We are asked to consider the mystery of her being. These kinds of paintings derive from Caravaggio's own early Magdalene). Caravaggio plays back and forth with theatricality and absorption: his characters stare out at us, challenging or seducing us: or they don't; and sometimes they do or don't do both in one painting. This is all in aid of raising fundamental questions about the arrival of the modern self in the early 17th century and its depiction.

While (contrary to other reviewers) I believe the book is clearly and well written, there are parts of it that are truly wearying. The initial chapters on whether or not self-portraits disguise the brush or the easel or whatever are just not very interesting. He is making some crucial point that is important to him as a basis for some argument that never gets clearly stated to the rest of us lesser mortals. Fried also tends to slay dragons that only one or two other art critics can possibly be interested in. One wonders how many people came back for the subsequent lectures......The book picks up as it goes along: the later chapters are full of insights. The best thing about the book by far (and well worth the effort) is the fact that Fried is one of the best readers of a painting there is: the book is an education in how to pay careful attention to the smallest details of a great master's work.

It is coming clearer as time passes that Caravaggio is in the same exalted category as Rembrandt and Poussin: a revolutionary artist with immense influence. Anything about him is worth the trouble.

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• Sales Rank: #417213 in Books
• Published on: 2015-08-18
• Formats: Audiobook, MP3 Audio, Unabridged
• Original language: English
• Number of items: 1
• Dimensions: 6.75" h x .50" w x 5.25" l,
• Running time: 8 Hours
• Binding: MP3 CD

Review
"a wealth of knowledge, insight and evidence to learn from" (The Marketing Society, April 2015)

“Morgan and Barden have produced a thought-provoking book for leaders and entrepreneurs looking to inject fresh thinking into their perspectives on business”. (The Irish Times, May 2015)

“..there are tons of inspiring and interesting case studies….it will inspire, guide and challenge you to find your way around – if not over – that hurdle you currently face.” (Marketing, June 2015)

“..in the assured hands of Morgan and Barden, it’s a gentle but insistent boot up the backside for anyone who wants to improve their business – or personal – performance” (PR Week, July 2015)

From the Inside Flap

A BEAUTIFUL CONSTRAINT

This is a practical handbook about everyday inventiveness, designed for the constrained times in which we live. Underpinned by the latest research from social science, the authors interviewed individuals and teams in disciplines as varied as marketing, supply chain, race car engineering, design, agronomy and education, all of whom had turned apparent constraints into sources of possibility and advantage.

This book transforms these learnings into a tool kit to help you make more from less, describing the mindset, method and motivation required to make constraints beautiful. It challenges us to:

Examine how we've become path dependent—stuck with routines that blind us from seeing the opportunity in our constraints

Ask Propelling Questions to break free of our old ways and put the most pressing and valuable constraints at the heart of our process

Adopt a Can-If mentality to answer these questions—focused on 'how,' not 'if' this can be possible

Rediscover resourcefulness, and the ability to create abundance in the face of scarcity

Activate the high-octane mix of emotions necessary to fuel the tenacity required for success

We live in a world of seemingly ever-increasing constraints, driven as much by an over-abundance of choices and connections as by a scarcity of time and resources. How we respond to these constraints is one of the most important issues of our time, and will be a large determinant of our future progress as people, businesses and citizens of our planet. A Beautiful Constraint calls for constraint-driven problem-solving to become a much more widespread capability and offers an original framework to achieve that.

From the Back Cover

"AN AMAZING BOOK"
Dan Wieden

HOW DO YOU TURN YOUR LIMITATIONS INTO OPPORTUNITIES?

Drawing inspiration from cases in fields as diverse as education, automobile engineering, supply-chain management, agriculture and breakthrough marketing campaigns, A Beautiful Constraint provides simple and practical tools to help almost anyone use constraints as a source of inspiration rather than asphyxiation. With clearly signalled chapter summaries allowing the time-constrained reader to grasp the whole book in 21 minutes, this is an easily digestible guidebook for all of us who need to make more from less.

"A Beautiful Constraint is a worldview changer."

Seth Godin, Author, What To Do When It's Your Turn

"A Beautiful Constraint is a book you can arm-wrestle with. Come at it with a traditional mindset and it will come right back at you with forceful arguments that will stimulate your thinking. The book offers us all a beguilingly simple way of looking at new approaches to grow and prosper in a new world order where the overriding preoccupation of business is scarcity of resource in all its forms. Read it and be inspired."

Keith Weed, Chief Marketing & Communications Officer, Unilever

"I'm a huge believer in the power of constraint. Less is often better. This book beautifully explores the question of how to approach constraints, both as individuals and as organizations and provides pragmatic frameworks for how to implement in every day life. In the end, this is not a business book, it is essential reading for personal happiness and entrepreneurship."

Fabian Pfortmüller, Co-Founder, Holstee

"Through its compelling real world examples and observations, A Beautiful Constraint has encouraged me to challenge time-worn assumptions, and enlightened me to the concept of asking tough propelling questions to both our creative teams and our sales and marketing organization. As an added bonus, ABC has been assembled in an easy-to-digest format perfect for short attention span readers like me."

Scott Rohde, SVP Product Development, Sony PlayStation Worldwide Studios America

"An amazing book. A well-written, lucid survey of how businesses succeed by figuring out how to use their limitations. A business book that doesn't read like one. I think these guys nailed it."

Dan Wieden, Co-Founder & Chairman, Wieden + Kennedy

"Adam and Mark have not only thought deeply about how to turn lemons into lemonade, they've also thought about how to make the wealth of ideas in their book easy to digest and use."

Nancy Duarte, CEO, Duarte, Inc.

"I started Samuel Adams in 1984 on a shoestring, but I never felt constrained. I felt focused and clear about every decision. We bootstrapped and innovated to compensate for lack of financial resources, and that creative culture serves us well even now, 30 years later. A Beautiful Constraint is a great addition to the entrepreneur's bookshelf. The antithesis of the ill-fated 'burn rate' calculations used by VCs during the dot com boom, the lessons in A Beautiful Constraint give the reader the tools to stay true to the company's core values and the confidence to let constraints be a powerful ally."

Jim Koch, Chairman & Founder, The Boston Beer Company

Most helpful customer reviews

16 of 17 people found the following review helpful.
A must-read guide for business transformation (and personal & social transformation, as well!)
By jburg80
Once again, Adam Morgan has published exactly the kind of book that business people need to read. Co-written with one of his eatbigfish partners, Mark Barden, A Beautiful Constraint turns conventional business thinking on its head by offering an easy-to-read “how to” for leveraging our constraints, instead of being limited by them.

Several years ago I read Adam’s first book, EATING THE BIG FISH: How Challenger Brands Can Compete Against Brand Leaders, on a flight home from London to the U.S. – and soon after became a client, along with my colleagues at Marriott International. I can attest to the power of the formula laid out in this book: real-life examples of companies who’ve put the book’s ideas into practice + principles for how to think about it yourself + tools for doing it + a process for bringing others along with you.

As with Eating The Big Fish, I have no doubt that A Beautiful Constraint will result in a new kind of business thinking and lexicon. I also believe that this book has the power to go way beyond the business realm to provide a new way of thinking about both personal and social transformation.

9 of 9 people found the following review helpful.
2 Thumbs Up
By Seth Matlins
I tend to think most "business books" would be much better "business articles"...but instead they say what needs be said in 10 pages in 210. A Beautiful Constraint is that rare exception; one where every page and each chapter matters and helps. Smart, insightful, and practical, this is much more than a "business book"...but a book with lessons, advice, and examples relevant to the breadth of our lives. We are all faced by constraints, whether actual or perceived. ABC provides a clear framework and POV for thinking of and approaching these constraints and turning them (and our businesses and selves along the way) into something beautiful indeed. 2 thumbs up!

11 of 12 people found the following review helpful.
Inspiring, practical, and useful in many ways
By M.P.
This book might be placed in the business section, but it offers valuable insights and approaches that could be applied to all kinds of problems as well as business issues. Who doesn't need good advice on how to turn a limitation into an advantage? I like the chapter summaries that make it easy to flip through the book and get the gist of it very quickly. In fact, the authors write that if you just want to do that, you can get through the book in "21 minutes and 20 seconds" and that sounds about right. But it's worth reading the whole book. The stories they use to illustrate different concepts and processes are interesting, and the methods they teach are easy to understand and apply. It's a good read, inspiring and useful in equal measure.

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[C334.Ebook] Download Ebook The King's Artists: The Royal Academy of Arts and the Politics of British Culture 1760-1840 (Oxford Historical Monographs), by Holger Hooc

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This is the story of the forging of a national cultural institution in late eighteenth- and early nineteenth-century Britain. The Royal Academy of Arts was the dominant art school and exhibition society in London and a model for art societies across the British Isles and North America. This is the first study of its early years, re-evaluating the Academy's significance in national cultural life and its profile in an international context. Holger Hoock reassesses royal and state patronage of the arts and explores the concepts and practices of cultural patriotism and the politicization of art during the American and French Revolutions. By demonstrating how the Academy shaped the notions of an English and British school of art and influenced the emergence of the British cultural state, he illuminates the politics of national culture and the character of British public life in an age of war, revolution, and reform.

• Sales Rank: #3376596 in Books
• Published on: 2004-01-15
• Original language: English
• Number of items: 1
• Dimensions: 6.30" h x 1.30" w x 9.30" l, 2.17 pounds
• Binding: Hardcover
• 392 pages

Review

"This is a densely argued, well-referenced book that brings together a mass of archival material, some familiar, much freshly mined. It adds substantially to the literature on what it convincingly presents as a central and vital component in the composition of the British imperial establishment."--The Art Newspaper

About the Author
Holger Hoock is a British Academy Postdoctoral Fellow in History, Selwyn College, Cambridge.

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[F963.Ebook] PDF Ebook Understanding Interreligious Relations, by David Cheetham, Douglas Pratt, David Thomas

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The ways in which religious communities interact with one another is an increasing focus of scholarly research and teaching. Issues of interreligious engagement, inclusive of dialogue more specifically and relations more generally, attract widespread interest and concern. In a religiously pluralist world, how different communities get along with each other is not just an academic question; it is very much a focus of socio-political and wider community attention. The study of religions and religion in the 21st century world must necessarily take account of relations within and between religions, whether this is approached from a theological, historical, political, or any other disciplinary point of view.

Understanding Interreligious Relations is a reference work of relevance to students and scholars as well as of interest to a wider informed public. It comprises two main parts. The first provides expositions and critical discussions of the ways in which "the other" has been construed and addressed from within the major religious traditions. The second presents analysis and discussions of key issues and topics in which interreligious relations are an integral constituent.

The editors have assembled an authoritative and scholarly work that discusses perspectives on the religious "other" and interreligious relations that are typical of the major religious traditions; together with substantial original chapters from a cross-section of emerging and established scholars on main debates and issues in the wider field of interreligious relations.

• Sales Rank: #1973022 in Books
• Published on: 2014-01-28
• Released on: 2014-01-28
• Original language: English
• Number of items: 1
• Dimensions: 6.70" h x 1.10" w x 9.60" l, .0 pounds
• Binding: Paperback
• 464 pages

Review

"Together, these chapters offer an exciting range of topics and issues that should broaden the relevance of the study of interreligious relations, presenting both a roadmap of the past and an agenda for the future. Overall, this volume raises issues that are as provocative as they are stimulating and I recommend it for all students entering the subject and for established scholars in the area whose imagination may have run dry." --Journal of Contemporary Religion

About the Author

David Cheetham has been teaching and researching the theology and philosophy of religions for over 15 years. He has published books and numerous articles in this field. He is the author or editor of Ways of Meeting and the Theology of Religions, Contemporary Practice and Method in the Philosophy of Religion, and John Hick. He is Secretary to the European Society for Intercultural Theology and Interreligious Studies.

Douglas Pratt has been teaching and researching in theology, religion, and interreligious relations for over 25 years. He has published seven books and numerous chapters and articles in these fields. Professor of Religious Studies at a New Zealand University, he holds adjunct professorial appointments in Australia and Switzerland. He is the New Zealand Associate of the UNESCO Chair in Intercultural and Interreligious Relations - Asia Pacific, and an Associate of the Centre for the Study of Religion and Politics, University of St Andrews, Scotland.

David Thomas has been a student and teacher of Islamic religious thought and Christian-Muslim relations for more than 30 years. He is currently Professor of Christianity and Islam and Nadir Dinshaw Professor of Interreligious Relations at the University of Birmingham. Among his most recent works are Christian Doctrines in Islamic Theology and Christian--Muslim Relations, a bibliographical history, vols 1-5.

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0 of 3 people found the following review helpful.
Ecumenism Is Unity In Error
By K7GDM
Always remember this: Ecumenism is unity in error. No matter how much is written about ecumenism in our modern age, no matter how much effort by scholars is put into studying the dynamics of inter-religious movements, the fact of the matter is that in this age of religio-political tones put forth by nearly all religious faiths, ecumenism is not an answer to our global conflict. The author has put much time into the compilation of facts and figures about the differences the various faith-groups have but it does not speak to the ageless question of whether we should do as God would have us do to "be ye separate", or to put our faith in the hands of man.

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• Original language: German
• Dimensions: 9.69" h x 1.30" w x 7.05" l,
• Binding: Hardcover

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[U229.Ebook] Free PDF Fluid Preservation: A Comprehensive Reference, by John E. Simmons

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Fluid Preservation is an essential reference for:

• Natural history curators
• Natural history collections managers
• Conservators
• Medical and anatomical museum collections managers and curators
• Art and history museum staff who have fluid preserved specimens and objects in their care (e.g., works by Damien Hirst)
• Private collectors
• Researchers using museum collections as sources of DNA, isotopes, etc.
• Health and safety professionals
• Exhibit planners and designers
• Museum facilities planners and managers
• People interested in the history of science
• People interested in the history of natural history museums
• Museum studies students

• Sales Rank: #1611556 in Books
• Published on: 2014-05-15
• Original language: English
• Number of items: 1
• Dimensions: 9.23" h x 1.21" w x 6.40" l, .0 pounds
• Binding: Hardcover
• 364 pages

Review
Preservation techniques for biological specimens have often been handed down by oral tradition rather than subjected to rigorous scrutiny and long-term evaluation. This volume is an overview of procedures, chemicals, and containers, not a how-to manual. The initial chapter provides an interesting review of the history of preservation of plant/animal specimens, ranging from ancient practices to modern DNA extraction and preservation, and summarizes knowledge about long-term/indefinite fluid preservation of organic materials. Simmons addresses the merits and drawbacks of various protocols, temperatures, preservation fluids, sealants, and container types in preventing postmortem changes in tissues. Post-fixation processing, specimen repair, transfer to newer containers and solutions, and health/safety concerns are also covered. The second half of this volume contains well-organized, extensive tables, including a copious review of the literature, ranging from DNA preservation techniques to cultural references. The largest table is arranged alphabetically by author, with columns for specimen type and helpful directions and comments. Updating much of the information found in earlier books, this well-researched volume will be a valuable addition not only for collections serving museum curators and preservationists but also botanists, zoologists, chemists, and chemical engineers. Summing Up: Highly recommended. All students, researchers/faculty, and professionals/practitioners. (CHOICE)

[This] book can be considered essential for all who are responsible for collections in liquid media. (Brazilian Herpetology)

This examination of the science behind the fluid preservation of biological specimens is essential reading for curators and conservators alike. There is a wealth of information in this exceptionally well-researched book which is worth buying for the comprehensive reference list alone! John Simmons has also collected anecdotes and misconceptions about fluid preservation which makes his book a suitable read for those outside the small world of museum professionals.
(Simon Moore, Conservator of Natural Sciences and Cutlery Historian, The National Trust, United Kingdom)

Filled with practical references and recommendations and a bibliography embracing sources from the very beginning of fluid preservation in the early 17th century to DNA preservation, this book summarizes the written knowledge on fixation, preservation, secondary interactions of preservatives and gives valuable information on collection care by exploring available literature far beyond Anglo-American sources. It is more than just a comprehensive reference, it embodies our knowledge of fluid preservation and conveys the most comprehensive practical advice that can be offered, from an author truly devoted to collection care. (Dirk Neumann, Ichthyology section, The Bavarian State Collection of Zoology, Munich, Germany)

John Simmons has created the ultimate reference on the science and mythology of fluid preservation. Thoroughly researched and written with wry wit, it is an indispensable and highly readable resource. (Catharine Hawks, adjunct faculty, Museum Studies Program, The George Washington University)

About the Author
John Simmons holds a B.A. in systematic ecology and an M.A. in Historical Administration and Museum Studies. In 1986, he completed the Collections Care Pilot Training Program (funded by the Bay Foundation) to become one of 30 people in the country to receive specialized training in conservation and collections care. He has spent a total of 30 years as collections manager in two of the largest collections of fluid preserved specimens in the United States (the California Academy of Sciences and the Biodiversity Research Center at the University of Kansas). He has published extensively on collections care topics and conducted seminars, workshops, and training programs in the US, Latin America, Asia, the Middle East, and Europe on the care of natural history collections (his previous publications include the AAM standard reference on collections management policies).

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Great Comprehensive book on a very niche field that i ...
By Jacob Cain
Great Comprehensive book on a very niche field that i love. finding info, especially on vintage collection techniques is very hard online, as are new techniques. this book gives a full range of history, practice and science to a sadly dying field. it reads very much like the textbook it is, but full of great information.

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