Bøger af James Mann

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The American Bird-keeper's Manual; Or, Directions For The Proper Management Of American And Foreign Singing Birds: With Particular Instructions For The Breeding Of Canary Birds, And The Proper Treatment Of Their Young. Together With Some Remarks Upon The Diseases To Which Birds Are Liable ... James Mann The author, 1848 Cage birds

The American Bird-Keeper's Manual is a book written by James Mann in 1848. The book provides detailed instructions on how to properly care for and manage American and foreign singing birds. It covers a wide range of topics, including selecting and housing birds, feeding and watering them, breeding and rearing young birds, and treating common illnesses and injuries. The book also includes descriptions of various species of birds, their characteristics, and their natural habitats. The American Bird-Keeper's Manual is a valuable resource for bird enthusiasts, breeders, and pet owners who want to ensure the health and well-being of their feathered friends.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Tombstone Confidential is a satire on mortality and contemporary culture, grounded in today's ingrained disregard for the relatively imminent approach and finality of one's death. An essentially comic work, at the same time the book is one long memento mori, filling a loosely narrative framework sequenced as a wandering journey across the United States. The poem unfolds panoramically through a wide variety of setting and reference, as it embodies the aesthetic position set forth by the author's Manifesto of Vandalism: that in today's diverse and chaotic culture, the most competent and valuable art will be that which makes the fullest and richest use of the entire range of culture at all levels. With 10,000 lines of rhymed pentameter quatrains, Tombstone Confidential offers an individual reconstitution of the art of poetry. From beginning to end, the book is addressed in the second person to a fictive reader, whose mock persona thus becomes the clueless protagonist of the narrative. The implied speaker of the poem is equally problematic, serving as the rambling yet relentless accuser of the reader's fictional life of ignorance and crime. With a doppelganger leitmotif, the action turns from hell to Hollywood, from national parks to space exploration, from Thunder Road to Las Vegas, the Wild West to the Rolling Stones, vampire culture to cannibalism, sports to sex, the Blue Ridge to the Golden Gate.

The Manifesto of Vandalism is essential reading for those interested in understanding the condition of the contemporary fine arts and the nature of their most advanced developments. The author's intention is to identify and define the most important new work in the fine arts, and to establish a critical framework upon and within which to base such judgements. Thus the book proposes, devises, and exemplifies a radically original discourse for the evaluation of recently and newly created works of art, a discourse which nevertheless bases its arguments on a historical overview of art since the Renaissance. The discourse employs new and unprecedented nomenclature upon which it is predicated, including a clear rationale for the term Vandalism itself. The argument initially focuses on the paradigmatic difference between art created before and after the birth of Romanticism around 1800. Demonstrating that two centuries of culturally dismantling activity brought the fine arts by 2000 to a state of complete artistic impoverishment, Mann concludes that the inevitable work at the present innovative frontier is to reconstitute the several fine arts upon and beyond the high-cultural ruins of Post-modernism. This discussion concentrates on visual art as representative of the remaining fine arts, albeit with a chapter on contemporary poetry. (The book's publication is accompanied by that of the author's long poem Tombstone Confidential, soon to be available from the same publisher.) The author's presentation builds upon the critical rationale he established through a series of painting exhibitions he originated as Curator of the Las Vegas Art Museum, exhibitions which bore the general title Art After Post-modernism. His reasoning includes a clear and well-defined use of the term Post-modernism itself, a highly specific denotation not previously advanced. The wholly new aesthetic Mann identifies and defines represents a clear break with the most prominent art of the recent past, which is still engaged in the intellectually diminishing effort to fully dismantle and destroy the cultural tradition out of which it is created. In contrast, the new art which this manifesto recognizes is involved in the innovative reconstitution of art, and accordingly it represents a distinct new frontier in the development of contemporary art. Since over the course of the last two centuries, Western art broke down and discarded, via analytic dismantlement, all its former historical attributes, all the characteristics of its now former tradition, fine art therefore can only be reconstituted by emerging anew as part of an entirely different, far broader cultural context, one which can rightly be considered global. This new art rises in the wake of Post-modernism as a total exploitation of expressive resources and potential, an entirely emergent aesthetic for incorporating many different kinds of artistic manifestation from the widest practical range of cultural levels and cultural origins.

Title: An oration, addressed to the fraternity of Free Masons: in the presence of a large concourse of people, on the tenth of October, in Wrentham, at a public installation of the officers of Montgomery Lodge, which usually convene at Franklin.Author: James MannPublisher: Gale, Sabin Americana Description: Based on Joseph Sabin's famed bibliography, Bibliotheca Americana, Sabin Americana, 1500--1926 contains a collection of books, pamphlets, serials and other works about the Americas, from the time of their discovery to the early 1900s. Sabin Americana is rich in original accounts of discovery and exploration, pioneering and westward expansion, the U.S. Civil War and other military actions, Native Americans, slavery and abolition, religious history and more.Sabin Americana offers an up-close perspective on life in the western hemisphere, encompassing the arrival of the Europeans on the shores of North America in the late 15th century to the first decades of the 20th century. Covering a span of over 400 years in North, Central and South America as well as the Caribbean, this collection highlights the society, politics, religious beliefs, culture, contemporary opinions and momentous events of the time. It provides access to documents from an assortment of genres, sermons, political tracts, newspapers, books, pamphlets, maps, legislation, literature and more.Now for the first time, these high-quality digital scans of original works are available via print-on-demand, making them readily accessible to libraries, students, independent scholars, and readers of all ages.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++SourceLibrary: Huntington LibraryDocumentID: SABCP02194400CollectionID: CTRG97-B1067PublicationDate: 17980101SourceBibCitation: Selected Americana from Sabin's Dictionary of books relating to AmericaNotes: Collation: 32 p.; 23 cm

The book that got China right: a prophetic work on how America's policies towards China led it away from liberalization and further towards authoritarianism, from the bestselling author of Rise of the Vulcans"[The China Fantasy] predicted, China would remain an authoritarian country, and its success would encourage other authoritarian regimes to resist pressures to change . . . Mann's prediction turned out to be true." -New York Review of Books, October 2017"From Clinton to Bush to Obama, the prevailing belief was engagement with China would make China more like the West. Instead, as [James] Mann predicted, China has gone in the opposite direction." -The New York Times, February 2018One of our most perceptive China experts, James Mann wrote The China Fantasy as a vital wake-up call to all who are ignorant of America's true relationship with the Asian giant. For years, our leaders posited that China could be drawn to increasing liberalization through the power of the free market, but Mann asked us to consider a very real alternative: What if China's economy continues to expand but its government remains as dismissive of democracy and human rights as it is now? Now the results are in: the reign of Xi Jinping has proven that Mann was right. To understand how China got to its current state and why it may not be too late to turn back, The China Fantasy is essential reading. Calling for an end to the current policy of overlooking China's abuses for the sake of business opportunities, Mann presents an alternative path to a better China.

When George W. Bush campaigned for the White House, he was such a novice in foreign policy that he couldn't name the president of Pakistan and momentarily suggested he thought the Taliban was a rock-and-roll band. But he relied upon a group called the Vulcans-an inner circle of advisers with a long, shared experience in government, dating back to the Nixon, Ford, Reagan and first Bush administrations. After returning to power in 2001, the Vulcans were widely expected to restore U.S. foreign policy to what it had been under George H. W. Bush and previous Republican administrations. Instead, the Vulcans put America on an entirely new and different course, adopting a far-reaching set of ideas that changed the world and America's role in it. Rise of the Vulcans is nothing less than a detailed, incisive thirty-five-year history of the top six members of the Vulcans-Dick Cheney, Donald Rumsfeld, Colin Powell, Paul Wolfowitz, Richard Armitage, and Condoleezza Rice-and the era of American dominance they represent. It is the story of the lives, ideas and careers of Bush's war cabinet-the group of Washington insiders who took charge of America's response to September 11 and led the nation into its wars in Afghanistan and Iraq.Separately, each of these stories sheds astonishing light not only on the formative influences that brought these nascent leaders from obscurity to the pinnacle of power, but also on the experiences, conflicts and competitions that prefigured their actions on the present world stage. Taken together, the individuals in this book represent a unique generation in American history-a generation that might be compared to the "wise men" who shaped American policy after World War II or the "best and brightest" who prosecuted the war in Vietnam. Over the past three decades, since the time of Vietnam, these individuals have gradually led the way in shaping a new vision of an unchallengeable America seeking to dominate the globe through its military power.

This work argues that the selection of 12 sessions on a once weekly basis mobilises hope and optimism in psychotherapy patients. It also necessitates dealing with the conscious and unconscious conflicts and meanings surrounding time, termination and separation-individuation.