The Seven Lively Arts, is a classical and a rare book, that has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and redesigned. These books are not made of scanned copies of their original work, and hence their text is clear and readable. This remarkable volume falls within the genres of Language and Literatures Literature General, Criticism, Collections

Highly acclaimed classic intelligently and engagingly discusses slapstick, comic strips, vaudeville, and other elements of popular culture and their relationship to such traditional art forms as opera, ballet, drama, and classical music. Author Seldes also pays homage to Charlie Chaplin, Mack Sennett, Irving Berlin, the Marx Brothers, and a host of other celebrities. A must-have book for general readers, students and teachers of the performing arts, and devotees of American popular culture.

Between the Jacobite Rebellion of 1745 and the American Declaration of Independence, London artists transformed themselves from loosely organized professionals into one of the most progressive schools of art in Europe. In British Art and the Seven Years' War Douglas Fordham argues that war and political dissent provided potent catalysts for the creation of a national school of art. Over the course of three tumultuous decades marked by foreign wars and domestic political dissent, metropolitan artists—especially the founding members of the Royal Academy, including Joshua Reynolds, Paul Sandby, Joseph Wilton, Francis Hayman, and Benjamin West—creatively and assiduously placed fine art on a solid footing within an expansive British state. London artists entered into a golden age of art as they established strategic alliances with the state, even while insisting on the autonomy of fine art. The active marginalization of William Hogarth's mercantile aesthetic reflects this sea change as a newer generation sought to represent the British state in a series of guises and genres, including monumental sculpture, history painting, graphic satire, and state portraiture. In these allegories of state formation, artists struggled to give form to shifting notions of national, religious, and political allegiance in the British Empire. These allegiances found provocative expression in the contemporary history paintings of the American-born artists Benjamin West and John Singleton Copley, who managed to carve a patriotic niche out of the apolitical mandate of the Royal Academy of Arts.

"Five-decade chronicle of television history [covering] ... all daytime programs that aired for three or more weeks on a commercial network between 1947 and 1996, plus 100 nationally syndicated shows from the same period ... . [Includes] cartoons, children's programs, game shows, news shows, soap operas, sports programs, [and] talk shows ... . Provides the dates each show aired, a synosis of its plot, its principal cast members, and other pertinent information"--Back cover.

Is contemporary art a friend or foe of Christianity? Art historian, critic, and curator Daniel Siedell, addresses this question and presents a framework for interpreting art from a Christian worldview in God in the Gallery: A Christian Embrace of Modern Art. As such, it is an excellent companion to Francis Schaeffer's classic Art and the Bible. Divided into three parts--"Theology," "History," and "Practice"--God in the Gallery demonstrates that art is in conversation with and not opposed to the Christian faith. In addition, this book is beautifully enhanced with images from such artists as Andy Warhol, Jackson Pollock, Enrique Martínez Celaya, and others. Readers of this book will include professors, students, artists, and anyone interested in Christianity and culture.

Gilbert Seldes, the author of The Stammering Century, writes: This book is not a record of the major events in Ameri­can history during the nineteenth century. It is concerned with minor movements, with the cults and manias of that period. Its personages are fanatics, and radicals, and mountebanks. Its intention is to connect these secondary movements and figures with the primary forces of the century, and to supply a back- ground in American history for the Prohibitionists and the Pente­costalists; the diet-faddists and the dealers in mail-order Personality; the play censors and the Fundamen­talists; the free-lovers and eugenists; the cranks and possibly the saints. Sects, cults, manias, movements, fads, religious excitements, and the relation of each of these to the others and to the orderly progress of America are the subject. The subject is of course as timely at the beginning of the twenty-first century as when the book first appeared in 1928. Seldes’s fascinated and often sympathetic accounts of dreamers, rogues, frauds, sectarians, madmen, and geniuses from Jonathan Edwards to the messianic murderer Matthias have established The Stammering Century not only as a lasting contribution to American history but as a classic in its own right.