Many of us crave information to all the big questions in life like, “Who am I?” and “What is my soul’s purpose?” and “What happens after death and beyond?” The good news is that the answers lie within the understanding of energy and everything it creates in the universe as well as the spirit realm and all of its levels. The Invisible Mirror gives you the wisdom and simple tools needed on how to balance your mind, body, and soul to succeed within this lifetime. Kim Silver’s many years of holistic practice and studies have led her to a deep understanding of energy and how it plays into human and soul beings. She relies on assistance from Dezni—her own soul—to guide simple facts about energy that will encourage others to look in the invisible mirror and accept our loving lights of energy, find a purpose, and use it to move forward into a life of positivity and enlightenment. Through her easy to follow instructions, others will learn about the many levels of energy as well as how to master their egos, manage their daily energy supply, understand and connect to their soul, choose love over fear, and rise above their own humanness to find the truth about their lives. The Invisible Mirror explains simple facts about energy that will help anyone trust their inner voice to guide them on a self-reflective journey to find happiness, inner-peace, and a true purpose.

The book addresses the scientific debates on Rembrandt, Metsu, Vermeer, and Hoogstraten that are currently taking place in art history and cultural studies. These focus mainly on the representation of gender difference, the relationship between text and image, and the emotional discourse. They are also an appeal for art history as a form of cultural studies that analyses the semantic potential of art within discursive and social contemporary practices. Dutch painting of the seventeenth century reflects its relationship to visible reality. It deals with ambiguities and contradictions. As an avant-garde artistic media, it also contributes to the emergence of a subjectivity towards the modern “bourgeois”. It discards subject matter from its traditional fixation with iconology and evokes different imaginations and semantizations - aspects that have not been sufficiently taken into account in previous research. The book is to be understood as an appeal for art history as a form of cultural science that analyses the semantic potential of art within discursive and social contemporary practices, and, at the same time, demonstrates its relevance today. Works by Rembrandt, Metsu, Vermeer, Hoogstraten, and others serve as exemplary case studies for addressing current debates in art history and cultural studies, such as representation of gender difference, relationship between text and image, and emotional discourse.

'God Without Being' is a key discussion on the nature of God. It offers a controversial, contemporary perspective.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Essays charting the diverse works of renowned conceptual artist Dan Graham.

Twisted bodies, deformed faces, aberrant behavior, and abnormal desires characterized the hideous creatures of classic Hollywood horror, which thrilled audiences with their sheer grotesqueness. Most critics have interpreted these traits as symptoms of sexual repression or as metaphors for other kinds of marginalized identities, yet Angela M. Smith conducts a richer investigation into the period's social and cultural preoccupations. She finds instead a fascination with eugenics and physical and cognitive debility in the narrative and spectacle of classic 1930s horror, heightened by the viewer's desire for visions of vulnerability and transformation. Reading such films as Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), Freaks (1932), and Mad Love (1935) against early-twentieth-century disability discourse and propaganda on racial and biological purity, Smith showcases classic horror's dependence on the narratives of eugenics and physiognomics. She also notes the genre's conflicted and often contradictory visualizations. Smith ultimately locates an indictment of biological determinism in filmmakers' visceral treatments, which take the impossibility of racial improvement and bodily perfection to sensationalistic heights. Playing up the artifice and conventions of disabled monsters, filmmakers exploited the fears and yearnings of their audience, accentuating both the perversity of the medical and scientific gaze and the debilitating experience of watching horror. Classic horror films therefore encourage empathy with the disabled monster, offering captive viewers an unsettling encounter with their own impairment. Smith's work profoundly advances cinema and disability studies, in addition to general histories concerning the construction of social and political attitudes toward the Other.