Images of the Greek theatre
Richard Green, Eric Handley
History of Greek theatre as represented in painted pottery, terracotta figures, sculpture, mosaics ans gems - How it was seen by audiences of the fourth and fifth centuries.

by Fred Hageneder (2007)
"Botanists around the world marvel at the unique characteristics of the yew, Europe’s most ancient species of tree. It is a ‘conifer’ without resin or cones but with juicy scarlet fruits that feed many birds and animals; it has foliage that is poisonous to livestock but which wild animals can eat; and though it has an extraordinarily low rate of photosynthesis, it can grow where other tree seedlings and plants just wither and die. The yew’s lower branches can root themselves, and it can also produce ‘interior roots’ inside a hollowing trunk, renewing itself from the inside out. It was in the Palaeolithic Era that humans were first struck by the yew’s regenerative powers and began to associate it with concepts of life and death, the afterlife and eternity. Yew trees can be found at the sacred sites of Native Americans and Buddhists, and Shinto shrines in Japan, as well as in Christian churchyards, where they became a symbol of the Resurrection"--Back cover.
Richard Green, Eric Handley
History of Greek theatre as represented in painted pottery, terracotta figures, sculpture, mosaics ans gems - How it was seen by audiences of the fourth and fifth centuries.
William L. MacDonald
Examines Roman architecture as a party of overall urban design and looks at arches, public buildings, tombs, columns, stairs, plazas, and streets.
Yves Draussin
Décrire la ville, la rendre sensible, perceptible, en démontrer les formes, les évolutions, la complexité visible et invisible ; et en expliquer les échecs. Mais ce récit entend également replacer la conception dans son contexte évènementiel, redonnant aux acteurs la paternité de leurs décisions et de leur influence sur le présent et le futur de la ville. Ainsi, l'identité de Saint-Quentin-en-Yvelines s'est forgée, principalement dans l'urbanisme, l'architecture et l'art public de son centre.(Ouvrage comportant 85 photos)
Fritz Kramer
This remarkable and controversial book explores the ways in which colonial Europeans have been represented in African ritual art and drama. Through a profound re-examination of Western concepts of otherness and mimesis, the anthropologist and art historian Fritz Kramer shows that African images of Europeans - in sculpture, masquerades and, above all, spirit possession - are the reverse and also the counterpart of European images of the Other as savage, whether noble or. Ignoble. For Africans, Europeans belonged to the realm of nature, to a state of innocence. Rejecting the modernist view of African art as abstract, Kramer insists on its mimetic qualities. These rituals are representations of something experienced, although the experiences have been transformed into spirits. In ways which may echo nineteenth-century European realism, they reveal the power of the visible, of the telling, obsessive detail: a feather, a shirt, or the. Eponymous red fez which runs like a leitmotiv through spirit possession cults of the early colonial period. Just as one danced an ancestor or an animal, so one could dance a motor-car or an aeroplane, possessed by the spirit of the thing. The Red Fez is certainly a book of wonders but, more importantly, it is a study of wonderment. Fritz Kramer takes his readers through a hall of mirrors, in which can be found startling likenesses of ourselves and our culture. By. Different paths, Kramer leads us through another world back to our own, presenting a challenge to anthropology and indeed to social science as a whole.