An openly lesbian avant-garde writer of science fiction, Vernon
Lee?a pseudonym of Violet Piaget?is the most important female
aesthetician to come out of nineteenth century England. Though she
was widely known for her supernatural fictions, Lee hasn’t gained
the recognition she so clearly deserves for her contributions in
the fields of aesthetics, philosophy of empathy, and art criticism.
An early follower of Walter Pater, her work is characterized by
extreme attention to her own responses to artworks, and a level of
psychological sensitivity rarely seen in any aesthetic writing.
Today, she is largely overlooked in curriculums, her aesthetic
works long out of print. David Zwirner Books is reintroducing Lee’s
writing through the first ever English publication of The
Psychology of an Art Writer (1903) along with selections from her
groundbreaking Gallery Diaries (1901–4), breathtaking accounts of
her experiences of the great paintings and sculptures she traveled
to see. Ranging from deeply felt assessments of the way mood
affects our ability to appreciate art, to detailed descriptions of
some of the most powerful personal experiences with artworks, these
writings provide profound insights into the fields of psychology
and aesthetics. Her philosophical inquiries in The Psychology of an
Art Writer leave no stone unturned, combining fine-grained
ekphrases with high fancy and dense abstraction. The Diaries, in
turn, establish Lee as one of the most sensitive writers about art
in any language. With a foreword by Berkeley classicist Dylan
Kenny, which guides the reader through these writings and
contextualizes these texts within Lee’s other work, this is the
quintessential introduction to her astonishing and complex oeuvre.
V januári 1965 Gabriel García Márquez cestoval s rodinou na
dovolenku do Acapulca, keď odrazu dostal nápad. Začul vravu
mestečka Macondo. Už vedel, ako napíše svoj nový román. Vrátil sa
domov, zatvoril sa do pracovne, a keď z nej po osemnástich
mesiacoch vyšiel, v ruke držal 1 300 strán rukopisu a bol šťastný.
Román Sto rokov samoty prvý raz vyšiel v roku 1967, Márquez mal
vtedy 39 rokov a svet si navždy zapamätal jeho meno. Dnes je román
považovaný za jedno z najvýznamnejších diel latinskoamerickej a
svetovej literatúry. Je komponovaný z množstva reálnych aj
fantazijných epizód a rozpráva o pôvabných i krutých príhodách
šiestich generácií rodiny Buendíovcov z fiktívneho mestečka
Macondo.
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