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Franklin Language Professor

DBD-1680 Language Professor

DBD-1680 has about 315 000 keywords and phrases and over 500,000 translations. It has expandable slot with BOOKMAN card to French or expanded to other language.
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Hakuho Sculpture (Franklin D. Murphy Lectures)

Hakuho Sculpture is the first book in any language devoted entirely to Japanese sculpture of the Hakuho period (c. 650-710 CE). It focuses on the stylistic development and aesthetic qualities of Buddhist imagery through a careful study of gilt-bronze Buddhist icons from one of the most creative periods of Japanese Buddhist art. This close analysis of practically all extant Hakuho images reveals much about the creative activities of the ancient sculptors. The Hakuho period is frequently considered alongside the preceding Asuka period (c. 590-650), suggesting some type of organic development from one period to the next. This understanding is somewhat distorted, given the significant differences in sculptural styles between the two periods. Donald McCallum explains the differences as resulting from divergent sources in China and Korea and unique attitudes toward the making of images.Donald McCallum is professor of Japanese art history at the University of California, Los Angeles, and author of Zenkoji and Its Icon: A Study of Medieval Japanese Religious Art and The Four Great Temples: Buddhist Archaeology, Architecture, and Icons of Seventh-Century Japan.
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Only $50.00

Franklin Special Edition Speaking Language Master

The ultimate language tool with everything you need, this special edition has the same features as the standard edition Merriam-Webster Language Master Model 476000, PLUS: special features designed for those who are blind, visually impaired, speech impaired or learning disabled. Provides 300,000 definitions, the thesaurus 500,000 synonyms. Pronounces every letter, word, definition, synonyms and more. Play fun and educational learning games. Stores up to 26 messages for playback and use as an augmentative communication device. Adjustable character size for easy reading. Large keyboard for easy use. Includes press-on locator dots and orientation keys for easy navigation, headphones for private listening and A/C adapter. Also includes instructions in print and on CD. Uses 4 AA batteries (included).
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Only $349.95

The Body in Time: Figures of Femininity in Late Nineteenth-Century France (University of Kansas Franklin D. Murphy Lecture)

"The Body in Time looks" at two different genres in relation to the construction of femininity in late nineteenth-century France: Degas' representation of ballet dancers and the transforming tradition of female portraiture. Class, gender, power, and agency are at stake in both arenas, but they play themselves out in different ways via different pictorial languages. Degas' depictions of anonymous young female ballerinas at the Paris Opera reflect his fascination with the physical exertions and prosaic setting of the dancer's sexualized body. Unlike the standard Romantic depictions of the ballerina, Degas' dancers are anonymous spread-legged workers on public display. Female portraiture and self-portraiture, in contrast, depicted the unique and the distinctive: privileged women, self-assured individuals transgressing gender conventions.Focusing on Degas' representation of the dancer, Tamar Garb examines the development of Degas' oeuvre from its early Realist documentary ambitions to the abstracted Symbolist renderings of the feminine as cypher in his later works. She argues that despite the apparent depletion of social significance and specificity, Degas' later works remain deeply enmeshed in contemporary gendered ways of viewing and experiencing art and life. Garb also looks at the transformation in the genre of portraiture heralded by the "new woman", examining the historical expectations of female portraiture and demonstrating how these expectations are challenged by new notions of female autonomy and interiority.Women artists such as Anna Klumpke, Rosa Bonheur, and Anna Bilinska deployed the language of Realism in their own self-representation. The figure of femininity remained central to the personal, political, and pictorial imperatives of artists across the spectrum of modern aesthetics. Gender and genre intersect throughout this book to show how these categories mutually impact one another. Tamar Garb is Durning Lawrence Professor in Art History, University College London.
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The Body in Time: Figures of Femininity in Late Nineteenth-Century France (University of Kansas Franklin D. Murphy Lecture)

"The Body in Time looks" at two different genres in relation to the construction of femininity in late nineteenth-century France: Degas' representation of ballet dancers and the transforming tradition of female portraiture. Class, gender, power, and agency are at stake in both arenas, but they play themselves out in different ways via different pictorial languages. Degas' depictions of anonymous young female ballerinas at the Paris Opera reflect his fascination with the physical exertions and prosaic setting of the dancer's sexualized body. Unlike the standard Romantic depictions of the ballerina, Degas' dancers are anonymous spread-legged workers on public display. Female portraiture and self-portraiture, in contrast, depicted the unique and the distinctive: privileged women, self-assured individuals transgressing gender conventions.Focusing on Degas' representation of the dancer, Tamar Garb examines the development of Degas' oeuvre from its early Realist documentary ambitions to the abstracted Symbolist renderings of the feminine as cypher in his later works. She argues that despite the apparent depletion of social significance and specificity, Degas' later works remain deeply enmeshed in contemporary gendered ways of viewing and experiencing art and life. Garb also looks at the transformation in the genre of portraiture heralded by the "new woman", examining the historical expectations of female portraiture and demonstrating how these expectations are challenged by new notions of female autonomy and interiority.Women artists such as Anna Klumpke, Rosa Bonheur, and Anna Bilinska deployed the language of Realism in their own self-representation. The figure of femininity remained central to the personal, political, and pictorial imperatives of artists across the spectrum of modern aesthetics. Gender and genre intersect throughout this book to show how these categories mutually impact one another. Tamar Garb is Durning Lawrence Professor in Art History, University College London.
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Only $21.29

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What are you shopping for?

Franklin Language Professor

DBD-1680 Language Professor

Hakuho Sculpture (Franklin D. Murphy Lectures)

Franklin Special Edition Speaking Language Master

The Body in Time: Figures of Femininity in Late Nineteenth-Century France (University of Kansas Franklin D. Murphy Lecture)

The Body in Time: Figures of Femininity in Late Nineteenth-Century France (University of Kansas Franklin D. Murphy Lecture)

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