For Folk S Sake Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of For Folk S Sake book. This book definitely worth reading, it is an incredibly well-written.
Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk’s Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers - and their connection to handwork, local history, and place - fed the public’s nostalgia for a simpler past. The folk artists examined here range from the well-known self-taught painter Maud Lewis to the relatively anonymous woodcarvers Charles Atkinson, Ralph Boutilier, Collins Eisenhauer, and Clarence Mooers. These artists are connected by the ways in which their work fascinated those active in the contemporary Canadian art world at a time when modernism – and the art market that once sustained it – had reached a crisis. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it out according to a particular modernist aesthetic language. Morton engages national and transnational developments that helped to shape ideas about folk art to show how a conceptual category took material form. Generously illustrated, For Folk’s Sake interrogates the emotive pull of folk art and reconstructs the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia’s most important art institutions.
"Engel makes good use of her setting; the fight for survival on the cusp of winter stokes the sense of danger in a way that matches Ivy's roiling feelings, and the love story moves with the slow-growing heat that Ivy needs." —Kirkus Reviews I am still alive. Barely. My name is Ivy Westfall. I am sixteen years old and a traitor. Three months ago, I was forced to marry the president's son, Bishop Lattimer—as all daughters of the losing side of the war are sold off in marriage to the sons of the winners. But I was different. I had a mission—to kill Bishop. Instead, I fell in love with him. Now I am an outcast, left to survive the brutal savagery of the lands outside of civilization. Yet even out here, there is hope. There is life beyond the fence. But I can’t outrun my past. For my actions have set off a treasonous chain of events in Westfall that will change all of our fates—especially Bishop's. And this time, it is not enough to just survive... The Book of Ivy series is best enjoyed in order. Reading Order: Book #1 The Book of Ivy Book #2 The Revolution of Ivy
A Select Library of the Nicene and Post-Nicene Fathers of the Christian Church, Second Series, Volume 8 by Philip Schaff,Henry Wace Pdf
Philip Schaff’s classic work colloquially known as The Early Church Fathers is an invaluable resource filled with the primary documents and early theological building blocks for the Christian church. Comprised of thirty-eight volumes, it is broken into three parts: the Ante-Nicene Fathers, and Nicene and Post-Nicene Fathers, First and Second Series.
Award-winning Nishnaabeg storyteller and writer Leanne Betasamosake Simpson returns with a bold reimagination of the novel, one that combines narrative and poetic fragments through a careful and fierce reclamation of Anishinaabe aesthetics. Mashkawaji (they/them) lies frozen in the ice, remembering a long-ago time of hopeless connection and now finding freedom and solace in isolated suspension. They introduce us to the seven main characters: Akiwenzii, the old man who represents the narrator’s will; Ninaatig, the maple tree who represents their lungs; Mindimooyenh, the old woman who represents their conscience; Sabe, the giant who represents their marrow; Adik, the caribou who represents their nervous system; Asin, the human who represents their eyes and ears; and Lucy, the human who represents their brain. Each attempts to commune with the unnatural urban-settler world, a world of SpongeBob Band-Aids, Ziploc baggies, Fjällräven Kånken backpacks, and coffee mugs emblazoned with institutional logos. And each searches out the natural world, only to discover those pockets that still exist are owned, contained, counted, and consumed. Cut off from nature, the characters are cut off from their natural selves. Noopiming is Anishinaabemowin for “in the bush,” and the title is a response to English Canadian settler and author Susanna Moodie’s 1852 memoir Roughing It in the Bush. To read Simpson’s work is an act of decolonization, degentrification, and willful resistance to the perpetuation and dissemination of centuries-old colonial myth-making. It is a lived experience. It is a breaking open of the self to a world alive with people, animals, ancestors, and spirits, who are all busy with the daily labours of healing — healing not only themselves, but their individual pieces of the network, of the web that connects them all together. Enter and be changed.