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This groundbreaking book offers a new perspective on a central group of music theory treatises that have long formed a background to the study of Renaissance music. Taking theorists' music examples as a point of departure, it explores fundamental questions about how music was read, and by whom, situating the reading in specific cultural contexts. In particular it illuminates the ways in which the choices of Renaissance theorists have shaped later interpretation of earlier praxis, and reflexively the ways in which modern theory has been mapped on to that practice.

• Sales Rank: #1015566 in Books
• Published on: 2006-11-02
• Original language: English
• Number of items: 1
• Dimensions: 9.72" h x .75" w x 6.85" l, 1.28 pounds
• Binding: Paperback
• 364 pages

Review
"Judd's work is impressive; her prose...is readable and precise." David O. Scaer, Roanoke College, Sixteenth Century Journal

"...this work contains much for both students and scholars of Renaissance music. Thoroughly researched and filled with good insights...the numerous tables and illustrations are of considerable assistance." Choice

"...an extremely interesting and thought-provoking book...a truly significant achievement." Renaissance Quarterly

About the Author
Cristle Collins Judd is Assistant Professor of Music Theory at the University of Pennsylvania and editor of Tonal Structures in Early Music (1998).

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The Evil Queen has, quite literally, captured the Huntsman's heart -- and now he's her slave. Based on the world of ABC's hit primetime series ONCE UPON A TIME, this is the never-before-told tale behind their twisted relationship -- and what happens when a good man is forced to do bad. When Regina cooks up yet another devious plan to capture Snow White -- this time by allying with a pack of power-hungry werewolves -- the Huntsman comes face-to-face with his past...and an independent spirit in Red Riding Hood that just may match his own. Can these two break free of the forces that bind them and save Snow White? When put to the test, where will the Huntsman's loyalties lie? Has the Evil Queen stolen his heart in more ways than one?

• Sales Rank: #63460 in Books
• Published on: 2013-09-03
• Released on: 2013-09-03
• Original language: English
• Number of items: 1
• Dimensions: 10.50" h x .50" w x 7.00" l, .88 pounds
• Binding: Hardcover
• 112 pages

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16 of 20 people found the following review helpful.
Magic and Passion
By Linda Cox
I love Once Upon a Time and was happy when the graphic novel was announced. One thing I love about graphic novels is that it can expand on the universe and tell more stories the show is not able to do. This graphic novel does just that. It steps into Fairy Tale land precurse and tells the story of the Huntsman's loyalty to Snow White and what he is willing to do to protect her and her love ones. The art work is amazing. It is full of details and the colors help set the mood for the overall story. It is a quick read. Took me around 30 mins or so to complete. Without spoiling anything there is some plot points that make me wonder if this is going to be cannon with the show or going slightly AU. Either way it was a delightful read. Wish it was a little longer but overall good to add to your Once Upon a Time collection. Can't wait for season 3.

4 of 4 people found the following review helpful.
Strong Shadow but Inconsistent art
By Anthony R. Cardno
Despite what the introduction says about how accessible the story is, I can't imagine anyone who doesn't watch Once Upon A Time picking this graphic novel up. Hopefully for Marvel and ABC, the Once core audience is rabid enough that they will pick up all associated media -- especially media that seems to fit into the Canon of the show, as this story does.

The first thing the creators did right was set the story completely in the Enchanted Forest and tell it in chronological order. Switching back and forth with Storybrooke and bouncing in time is a comic book trademark as much as a Once/Lost/etc trait, but I think in would have worked against the story here. The second thing they did right was make this a Canon story -- from the executive producers introduction, it's clear this is a story they had developed during season one but unable to fit into the constraints of the season ... and as much as fans love and miss The Huntsman and Red Riding Hood, the show has moved on from their stories. The story is paced well and the dialogue at least rings true to the actors, especially the dialogue for the Evil Queen (somewhat less so for Red, sad to say). If the Once producers and Marvel can continue to coordinate their stories and let these stand-alone graphic novels fill in the gaps in story for the secondary characters like the Huntsman and Red (and the werewolf tribe Red is exiled from), the series might just work.

The thing that works against this book is the wildly variable artwork. On the one hand, you have a chapter by the still-phenomenal-after-all-these-years Michael Wm. Kaluta. Visually, that was my favorite chapter of the book. Unfortunately, the chapter art doesn't all mesh -- chapter two in particular doesn't fit or flow with the rest of the book's look. It's not that the art is bad, it's that the sudden change in look threw me out of the story. I'm not sure what the intent was of having multiple art styles telling the same continuous story.

Still the art is a minor quibble in a story that was fun to read and complementing the source material.

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pretty cool
By bri
I just want to know if there will be more?! The artwork looked fabulous though and am hopeful that there are/will be (I haven't looked yet).

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Maintenant disponible en format poche chez Points (Seuil)Deux journalistes, canadien et québécois, ont passé plus de deux ans à observer et à tenter de comprendre la culture française. Bousculant la plupart des idées reçues sur la France, les auteurs ont passé au crible leurs réflexes culturels, leur supposée arrogance au culte de l État et des grands hommes, leur passion pour la laïcité, ou leur penchant pour les manifestations. Ils ont étudié la façon dont les Français inventent l exception culturelle, prétendent résister à la mondialisation, tournent leurs phrases, corrigent leurs interlocuteurs. « Pas si fous ces Français est une lecture des plus revigorantes. » Bernard Pivot

• Sales Rank: #941837 in Books
• Published on: 2013-04-20
• Original language: French
• Number of items: 1
• Dimensions: 6.75" h x 4.75" w x .75" l, .42 pounds
• Binding: Paperback
• 377 pages

About the Author
Jean-Benoît Nadeau et Julie Barlow travaillent pour le magazine L actualité. Jean-Benoît Nadeau a publié Les Français aussi ont un accent (Payot, 2002) et a reçu de nombreuses récompenses, dont le prix du journaliste de l année 2003 décerné par l Association québécoise des éditeurs de magazines.

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2 of 2 people found the following review helpful.
Simplement délirant....
By Jérôme Leballeur
Ce livre est un très bon outil pour comprendre les principales différences entre la culture de la société française et celle des États unis.
Utile lorsqu'on se penche sur ce genre de question. Les français se retrouveront assez facilement dans cette ouvrage !
A lire...

0 of 2 people found the following review helpful.
French people have it good!
By Elisabeth Vaughan
I still have to finish reading it, but I like it so far. Reviewed it for the French Club, I belong to.

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The first specialized critical-aesthetic study to be published on the concept of hybridity in early Mughal painting, this book investigates the workings of the diverse creative forces that led to the formation of a unique Mughal pictorial language. Mughal pictoriality distinguishes itself from the Persianate models through the rationalization of the picture’s conceptual structure and other visual modes of expression involving the aesthetic concept of mimesis. If the stylistic and iconographic results of this transformational process have been well identified and evidenced, their hermeneutic interpretation greatly suffers from the neglect of a methodologically updated investigation of the images’ conceptual underpinning. Valerie Gonzalez addresses this lacuna by exploring the operations of cross-fertilization at the level of imagistic conceptualization resulting from the multifaceted encounter between the local legacy of Indo-Persianate book art, the freshly imported Persian models to Mughal India after 1555 and the influx of European art at the Mughal court in the sixteenth and seventeenth centuries. The author's close examination of the visuality, metaphysical order and aesthetic language of Mughal imagery and portraiture sheds new light on this particular aspect of its aesthetic hybridity, which is usually approached monolithically as a historical phenomenon of cross-cultural interaction. That approach fails to consider specific parameters and features inherent to the artistic practice, such as the differences between doxis and praxis, conceptualization and realization, intentionality and what lies beyond it. By studying the distinct phases and principles of hybridization between the variegated pictorial sources at work in the Mughal creative process at the successive levels of the project/intention, the practice/realization and the result/product, the author deciphers the modalities of appropriation and manipulation of the heterogeneous elements. Her unique

• Sales Rank: #4339448 in Books
• Published on: 2016-02-08
• Original language: English
• Number of items: 1
• Dimensions: 9.21" h x .81" w x 6.14" l, 1.88 pounds
• Binding: Hardcover
• 336 pages

Review
'Equipped with an understanding of aesthetics as the analysis of the sensory and affective encounter and a deep respect for artistic creativity, Gonzalez is able to argue for a new understanding of Mughal painting's aesthetic syntheses of Indic, Persian, Islamic, and European pictorial traditions. Her phenomenological method permits an acute account of how a work of art makes a world through practices of spatiality, textuality, and figurality. Her historical analysis compellingly explains the transformations of these practices during the Mughal empire.' Laura U. Marks, Simon Fraser University, Canada

About the Author
Valerie Gonzalez is an expert on Islamic art history and aesthetics. She teaches Islamic studies at the Leighton House Museum, London. She was previously a member of the Institute for Advanced Study, Princeton University, USA.

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