Ambrose Kirk (84 results)

Soft cover. Condition: Very Good. No Jacket. White titles on dark purple illustrated soft covers, 106 pages (259-365) plus 6 pages of introductory material and 6 pages of ads at the back. Articles byClaudia Mattos, Douglas Brine, Mitchell B. Merback, Aaron Wile and Rebecca M. Brown.

Paperback. Condition: Very Good+.

Paperback. Condition: Very Good.

Paperback. Condition: Very Good.

Paperback. Condition: Very Good+.

Paperback. Condition: Very Good.

Paperback. Condition: Very Good+.

Paperback. Condition: Very Good.

Paperback. Condition: Very Good+.

Soft cover. Condition: Near Fine. The Art Bulletin, Volume XCVIII, Number 2, June 2016 (Cover Image, Christoph Jamnitzer, "Trumpeter," 1610). Ships from NC. All periodicals are sealed in recycled plastic, packaged securely with recycled cardboard backing, and shipped promptly.

Condition: As New. Unread book in perfect condition.

Condition: New.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: New. Richly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings.Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. KIRK AMBROSE is Associate Professor and Chair, Department of Art and Art History, University of Colorado Boulder.…

Soft cover. Condition: Near Fine. A very nice copy! Clean, bright, and tight -- a lightly handled copy. No markings of any kind. Cover features a detail from "Olympia," by Edouard Manet. Ships from NC. All paperbacks are sealed in recycled plastic, packaged securely with recycled cardboard backing, and shipped promptly with tracking information. …

Condition: new.

Paperback. Condition: New. Richly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings.Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. KIRK AMBROSE is Associate Professor and Chair, Department of Art and Art History, University of Colorado Boulder.…

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

paperback. Condition: New. 1st.

Vintage black-and-white still photograph of Martin Sheen from the 1980 film. A modern aircraft carrier is sent back in time to Hawaii, 1941, just hours before the attack on Pearl Harbor. One of the most inventive science fiction films of the 1980s, today a minor classic in the Psychotronic world. 8 x 10 inches. About Near Fine.…

Condition: New. 2017. Reprint. Paperback. . . . . .

Condition: New. In English.

Condition: New.

Condition: As New. Unread book in perfect condition.

Soft cover. Condition: Very Good. First Thus. Trade paperback format. Light wear on the corners with an uncreased spine; no interior markings. Cover art by Doug Fornuff. This anthology contains: A Little Something for Us Tempunauts by Philip K. Dick; The Summer People by Shirley Jackson; The Beautiful Stranger by Shirley Jackson; The Whimper of Whipped Dogs by Harlan Ellison; Sticks by Karl Edward Wagner; There's a Long, Long Trail A-Winding by Russell Kirk; The Call of Cthulhu by H. P. Lovecraft; The Rats in the Walls by H. P. Lovecraft; My Dear Emily by Joanna Russ; Vandy, Vandy by Manly Wade Wellman; Belsen Express by Fritz Leiber; Yours Truly, Jack the Ripper by Robert Bloch; A Rose for Emily by William Faulkner; Mackintosh Willy by Ramsey Campbell; Smoke Ghost by Fritz Leiber; Seven American Nights by Gene Wolfe; The Signalman by Charles Dickens; The Repairer of Reputations by Robert W. Chambers; The Beckoning Fair One by Oliver Onions; What Was It? by Fitz-James O'Brien; The Reach by Stephen King; Evening Primrose by John Collier; The Ash-Tree by M. R. James; The New Mother by Lucy Clifford; Young Goodman Brown by Nathaniel Hawthorne; Mr. Justice Harbottle by Joseph Sheridan Le Fanu; The Crowd by Ray Bradbury; The Autopsy by Michael Shea; John Charrington's Wedding by E. Nesbit; Larger Than Oneself by Robert Aickman; If Damon Comes by Charles L. Grant; The Swords by Robert Aickman; The Roaches by Thomas M. Disch; Bright Segment by Theodore Sturgeon; Dread by Clive Barker; The Fall of the House of Usher by Edgar Allan Poe; The Monkey by Stephen King; Within the Walls of Tyre by Michael Bishop; Schalken the Painter by Joseph Sheridan Le Fanu; The Yellow Wallpaper by Charlotte Perkins Gilman; How Love Came To Professor Guildea by Robert Hichens; Born of Man and Woman by Richard Matheson; You Can Go Now by Dennis Etchison; The Rocking-Horse Winner by D. H. Lawrence; Three Days by Tanith Lee; Good Country People by Flannery O'Connor; The Jolly Corner by Henry James; Crouch End by Stephen King; Night-Side by Joyce Carol Oates; Seaton's Aunt by Walter de la Mare; Clara Militch by Ivan Turgenev; The Damned Thing by Ambrose Bierce; Afterward by Edith Wharton; The Willows by Algernon Blackwood; The Asian Shore by Thomas M. Disch; and The Hospice by Robert Aickman. Size: 8vo. Doug Fornuff; (illustrator). Book.…

Condition: New. 2017. Reprint. Paperback. . . . . . Books ship from the US and Ireland.

Paperback. Condition: Brand New. reprint edition. 187 pages. 9.25x6.75x0.50 inches. In Stock.

hardcover. Condition: Very Good. Never read, no marks or highlighting in the book. Our copy is hardback, with printed covers, showing light shelf-wear and a little sun-fading on the spine.

Paperback. Condition: New. Richly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings.Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. KIRK AMBROSE is Associate Professor and Chair, Department of Art and Art History, University of Colorado Boulder.…

paperback. Condition: New. 1st.