bedside

Willem A. Visser 't Hooft (1900–1985), Dutch pastor and theologian, was one of the most significant personalities in the Protestant Ecumenical movement. Deeply influenced by Karl Barth, and filled with a strong Ecumenical spirit, he was closely involved in the founding of the World Council of Churches, of which he was elected General Secretary. During the Second World War, many Protestants became convinced of the need for an international political system which, beside uniting the nations and peoples of Europe, would guarantee them fundamental freedoms and mutual respect for their historical, cultural and confessional traditions. The directors of the WWC were strongly committed to federalism, partly because of the political traditions of the states from which their member churches originated (Switzerland ; Great Britain and its Commonwealth ; the United States), and partly because of their conviction that a simple confederation of states, based on the model of the League of Nations, would be completely incapable of containing national ambitions. In spring 1944, Visser 't Hooft welcomed into his Geneva home the representatives of the European Resistance, who, under the leadership of Altiero Spinelli and Ernesto Rossi, signed the International Federalist Declaration of the Resistance Movements. These historic transnational encounters, aimed not only at coordinating military action or seeking diplomatic contacts but at exploring ways to "build" peace and re-establish the future of the Continent on new foundations, marked a profound break with the past.

This book presents the life and work of the Victorian landscape painter Alfred Augustus Glendening (1840-1921). With beautiful illustrations of his pictures, showing a timeless countryside, it explores Glendening's rapid rise from railway clerk to acclaimed artist. Whilst critics often reviewed his exhibited works, very little has been written about the artist himself. Here, new and extensive research removes layers of mystery and misinformation about his life, family and career, accurately placing him in the midst of the British art world during much of the nineteenth and into the twentieth century. Glendening was a man from humble origins, working fulltime as a railway clerk, yet was able to make his London exhibition debut at the age of twenty. This would have been almost impossible before the Victorian era, an extraordinary period when social mobility was a real possibility. Although his paintings show a tranquil and unspoiled landscape, his environment was rapidly being transformed by social, scientific and industrial developments, while advances in transport, photography and other technical discoveries undoubtedly influenced him and his fellow painters. Celebrating his uniquely Victorian story, the book places Glendening within his historical context. Running alongside the main text is a timeline outlining significant landmarks, from political and social events to artistic and technical innovations. Thoroughly researched over many years, the narrative explores why and for whom he painted, his artistic training and inspirations. Painting at Hampton and Greenwich, beside the River Thames, Glendening soon discovered the Welsh hills and became a member of the Bettws-y-Coed Artists' Colony, founded by David Cox. His masterful landscapes also include views of the Scottish Highlands, the Lake District, the Norfolk Broads, the South Downs and the Isle of Wight. The book uncovers new information about the Victorian art world and embraces such aspects as Royal Academy prejudices, the popularity of Glendening's work at home and abroad, especially Australia and America, his use of photography, and the sourcing of his art materials. Family trees are included, and other artistic family members discussed, notably his son and pupil Alfred Illman Glendening (1861-1907). There is a comprehensive list of their exhibited works at the Royal Academy and other major institutions, and details of their paintings in public collections.

The son of Douaouf, the brilliant, scribe of the early XIIth Dynasty Xty " Khety " said this : "The man continues to subsist after reaching the haven of death and his actions are beside him in a heap. " If regression is the main cause of the alarming situation of Africa and its tails the perceptibles consequences at all levels, the solution to this problem is eminently political. It inevitably involves the constitution of a pan-African State. For men, there is no unity without memory of the past. In fact, the construction of a federal state inevitably involves the restoration of African historical consciousness. There is no national and federal identity without a common language. The unification of Africa will only be possible if it takes the measure of its linguistic unification issue. To a lesser extent but like Cheikh Anta Diop in his book titled the Cultural Unity, I was animated throughout this heuristic by the idea that only the true knowledge of the past can maintain the consciousness and the feeling of a historical continuity essential to the consolidation of a nation for the purpose of building a multinational state in line with its past. Like Cheikh Anta Diop, I build my sureness on the legitimate idea that a people who lost a significant part of their historical memory must engage in the investigation of their past in every possible way. This investigation can take the contours of a reconnection with its past through so-called old languages. But a people can not live only with by merely repeating of what others tell them about themselves. The investigation through its linguistic past allows especially a direct knowledge of oneself. In addition to the fact that this knowledge simply highlights its weaknesses, it allows also to become aware by an introspective and therefore reflective of its real abilities and strengths. It structures being and the consciousness of being to resist any form of servile and degrading ideology. This quest for the past, not founded on blind passion but objectivity, nourishes a healthy ambition for a real universalism. To know one's past is already to project one's future. To know one's past is to give oneself the capacity to be able to bring to others in a perspective of giving and receiving. To know one's past is to refuse intellectual guardianship and wait-and-seeism. To know one's past is to be reborn.

The son of Douaouf, the brilliant, scribe of the early XIIth Dynasty Xty " Khety " said this : "The man continues to subsist after reaching the haven of death and his actions are beside him in a heap. " If regression is the main cause of the alarming situation of Africa and its tails the perceptibles consequences at all levels, the solution to this problem is eminently political. It inevitably involves the constitution of a pan-African State. For men, there is no unity without memory of the past. In fact, the construction of a federal state inevitably involves the restoration of African historical consciousness. There is no national and federal identity without a common language. The unification of Africa will only be possible if it takes the measure of its linguistic unification issue. To a lesser extent but like Cheikh Anta Diop in his book titled the Cultural Unity, I was animated throughout this heuristic by the idea that only the true knowledge of the past can maintain the consciousness and the feeling of a historical continuity essential to the consolidation of a nation for the purpose of building a multinational state in line with its past. Like Cheikh Anta Diop, I build my sureness on the legitimate idea that a people who lost a significant part of their historical memory must engage in the investigation of their past in every possible way. This investigation can take the contours of a reconnection with its past through so-called old languages. But a people can not live only with by merely repeating of what others tell them about themselves. The investigation through its linguistic past allows especially a direct knowledge of oneself. In addition to the fact that this knowledge simply highlights its weaknesses, it allows also to become aware by an introspective and therefore reflective of its real abilities and strengths. It structures being and the consciousness of being to resist any form of servile and degrading ideology. This quest for the past, not founded on blind passion but objectivity, nourishes a healthy ambition for a real universalism. To know one's past is already to project one's future. To know one's past is to give oneself the capacity to be able to bring to others in a perspective of giving and receiving. To know one's past is to refuse intellectual guardianship and wait-and-seeism. To know one's past is to be reborn.

Longtemps attendu et extrêmement bien accueilli, A History of Arcadia de Paul Holberton constitue l'examen approfondi et minutieux d'un grand nombre de textes originaux de poésie pastorale classique des époques moderne et contemporaine, de littérature et de théâtre en grec ancien, en latin, en italien, en français, en espagnol, en portugais, en néerlandais, en allemand et en anglais et d'un large éventail d'images prenant fin juste avant 1800. L'ouvrage analyse le développement de la pastorale comme moyen de représentation du bonheur humain sur Terre à travers la cour réciproque entre un garçon et une fille, et leurs sentiments auxquels la pastorale de l'époque donne voix. This tremendous book is an iconographic study of Renaissance and Baroque pastoral and related subject matter, with an important chapter on the 18th century, both in the visual arts, where pastoral is very poorly understood, and in words and performance, about which many false preconceptions prevail. The study begins with Virgil's use of Theocritus and an analysis of what basis Virgil provided for Renaissance pastoral and what, by contrast, stemmed from the medieval pastourelle. Pastoral developed notably in the Venetian High Renaissance. Its texts incorporated Petrarchist and Neoplatonic ideas of love, of which this book charts the development and evolution with unprecedented precision, considering also the female nude in art. There is a novel and polemical discussion of the development of landscape subjects in art, from Giorgione to Claude. The contributions of the most influential or representative authors - Petrarch, Sannazaro, Montemayor, Tasso, Guarino, Lope de Vega, Cervantes, Honoré d'Urfé, Cornelis de Hooft, Shakespeare and lastly Salomon Gessner - are considered beside many interesting more minor ones - Arsocchi, Bernardim Ribeiro, Clément Marot, Cieco d'Adria, John Fletcher, Fontenelle - and the verses of madrigals. There is a chapter on 'Being Rural' - what we can say about the reality of life in the country in the early modern period. There is a chapter on 'Et in Arcadia Ego' that introduces new evidence for the dating of Poussin's famous work by reference to a neglected work by Sébastien Bourdon in Yale ; another on a pastoral composition by Rubens that has not been considered as such. There is an important and bold discussion of self-projection ('metachronic' representation) by monarchs and courtiers across Europe in the 17th century, both within pastoral and without, which illuminates profound differences between Protestant and Catholic culture. Coming from the study of earlier periods, the author is able to throw new light on the Rococo - figures such as John Gay, Watteau, Gessner and Gainsborough - and to explain the termination of pastoral writing and art with the embrace of modernity in form and means of expression. All texts are given in the original language and all translated into English, while the visuals are beautifully reproduced : the book is also an anthology.

Longtemps attendu et extrêmement bien accueilli, A History of Arcadia de Paul Holberton constitue l'examen approfondi et minutieux d'un grand nombre de textes originaux de poésie pastorale classique des époques moderne et contemporaine, de littérature et de théâtre en grec ancien, en latin, en italien, en français, en espagnol, en portugais, en néerlandais, en allemand et en anglais et d'un large éventail d'images prenant fin juste avant 1800. L'ouvrage analyse le développement de la pastorale comme moyen de représentation du bonheur humain sur Terre à travers la cour réciproque entre un garçon et une fille, et leurs sentiments auxquels la pastorale de l'époque donne voix. This tremendous book is an iconographic study of Renaissance and Baroque pastoral andrelated subject matter, with an important chapter on the 18th century, both in the visual arts, where pastoral is very poorly understood, and in words and performance, about which many false preconceptions prevail. The study begins with Virgil's use of Theocritus and an analysis of what basis Virgil provided for Renaissance pastoral and what, by contrast, stemmed from the medieval pastourelle. Pastoral developed notably in the Venetian High Renaissance. Its texts incorporated Petrarchist and Neoplatonic ideas of love, of which this book charts the development and evolution with unprecedented precision, considering also the female nude in art. There is a novel and polemical discussion of the development of landscape subjects in art, from Giorgione to Claude. The contributions of the most influential or representative authors - Petrarch, Sannazaro, Montemayor, Tasso, Guarino, Lope de Vega, Cervantes, Honoré d'Urfé, Cornelis de Hooft, Shakespeare and lastly Salomon Gessner - are considered beside many interesting more minor ones - Arsocchi, Bernardim Ribeiro, Clément Marot, Cieco d'Adria, John Fletcher, Fontenelle - and the verses of madrigals. There is a chapter on 'Being Rural' - what we can say about the reality of life in the country in the early modern period. There is a chapter on 'Et in Arcadia Ego' that introduces new evidence for the dating of Poussin's famous work by reference to a neglected work by Sébastien Bourdon in Yale ; another on a pastoral composition by Rubens that has not been considered as such. There is an important and bold discussion of self-projection ('metachronic' representation) by monarchs and courtiers across Europe in the 17th century, both within pastoral and without, which illuminates profound differences between Protestant and Catholic culture. Coming from the study of earlier periods, the author is able to throw new light on the Rococo - figures such as John Gay, Watteau, Gessner and Gainsborough - and to explain the termination of pastoral writing and art with the embrace of modernity in form and means of expression. All texts are given in the original language and all translated into English, while the visuals are beautifully reproduced : the book is also an anthology.