A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.

A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.

Peasant girls don't mingle with dragons, princes, and beastly curses...or so Felicity thought Justin has become a beast. And even carefree Felicity couldn't look at him and like what she sees. Could she?

After the death of Queen Eleanor, Beauty and Laurent are implored to take the throne and uphold the ways of complete sensual surrender that have made Eleanor's realm a legend.

This isn't the world you think it is... Every day they slip across our borders to infiltrate our government, our schools, our neighborhoods. Homeland security can't stop them. The armed forces are no threat to them. Powerful and unseen, they cannot be stopped. They have been doing this for millennia. On what should have been the best day of his life, Pulitzer Prize-winning author Grant Austin learns of a plan to assassinate the president of the United States. Every attempt to sound the alarm is thwarted, and Grant soon finds himself at the center of an even greater battle that predates time as he stands alone against ancient powers and unspeakable evil -- evil that can only be described as a hideous beauty.

Zahnd issues a challenge to Christians to discover new vitality through re-envisioning, reimagining, and reforming the church according to the pattern of the cruciform. Using stories from the lives of St. Francis of Assisi and from his own life, he teaches believers to stay on the journey to discover the kingdom of God in a fuller, richer way.

Welcome to Nissera, land of three kingdoms and home to spectacular magic. Bristal, a sixteen-year-old kitchen maid, finds herself in a gritty fairy tale gone wrong when she discovers she has magic in her blood. She's descended from an ancient line of immortal sorcerers called elicromancers—a race that has all but died out in her world, but only two remain in Nissera after a bloody civil war. Bristal joins their ranks without knowing that one of them has a dark secret . . . Tamarice is plotting a quest to overthrow the realm's nobility and take charge herself. Together, Bristal and Brack must guard the three kingdoms of Nissera against Tamarice's black elicromancy. There are princesses to protect, royal alliances to forge, and fierce monsters to battle—all with the hope of preserving peace. With clever homages to Cinderella, Sleeping Beauty, and the Chinese legend of Hua Mulan, Hannah West makes a fast-paced, exciting, and wholly original debut. The Nissera Chronicles begin here and continue with Fields of Fire, a short story set against the events of Kingdom of Ash and Briars, and Realm of Ruins, a gripping companion novel. "One of the best books I've ever read."—C.J. Redwine, New York Times best-selling author of The Shadow Queen "A world both terrifying and wonderful."—Kirkus Reviews (starred review)