Eva Schmidts christelijke fictie wordt diepgaand gevormd door haar persoonlijke levenservaringen en geloof. Haar schrijven is erop gericht lezers aan te moedigen en te inspireren om hun vertrouwen te stellen in de Heer Jezus Christus. Met een focus op thema's als gemeenschap en persoonlijke spirituele groei, is Schmidts vertelstijl zowel toegankelijk als oprecht. Door haar verhalen biedt ze lezers een boodschap van hoop en geestelijke aanmoediging.
Set in a joyful Mennonite household, the story follows Mary, a middle child who navigates friendships and academic success while developing feelings for her brother's best friend. The narrative explores the dynamics of family life, the challenges of adolescence, and the complexities of young love within a close-knit community.
Key Works / Key Texts Interdisciplinary approach and theoretical foundation in artistic practice have always been part of the work by Swiss artist Rémy Zaugg (1943–2005), yet for him, painting had always remained essential. His artistic position therefore still remains quite unique not least because he, first of all, posed the existential question of perception. Without the artist’s, as well as the viewers’ perception, and the constant confrontation with ever-changing conditions, there would be no work of art. This can only be process-oriented and subject to various phenomena, and therefore cannot be reduced to just the object. Thus Rémy Zaugg always considered painting (since the 1960s) a kind of basic research for any applied projects, be it in architecture or urbanism. His writing on museum and exhibition architecture (from the 1980s and 1990s) may be regarded as key works on artistic examination, where amazingly simple realisations are formulated using rather suggestive rhetoric. This retrospective volume appears on the occasion of the 10th anniversary of the death of the artist; there is currently no publication on his artwork available on the market. In addition, this book contains a small cross section of the unusual essay work by the artist. Museum für Gegenwartskunst Siegen, 1/11/2015–6/3/2016Museo Nacional Centro de Arte Reina Sofía Madrid, 7/4–28/8/2016
What does landscape mean today? Still the romantic ideal of a diversified natural, agricultural and settlement area? Modern landscapes today are often 'non-places'. They bear traces of economic interventions, changing demarcations, are marked by displacement and war as well as by urban sprawl and mining. Quite often, only a kind of residual nature remains, where a few ruins tell of historical events. Barren landscapes that speak of past violence are degraded to (illustrative) material. At the same time, (war) memories are visibly embodied in architectural monuments from the 20th century. In this exhibition and in numerous contributions to the extensive book, 24 artists and artist groups bring the theme of landscape to life. Landscapes between fiction, symbolism and documentation are presented, and they appeal to our ability to read and decipher these images--and, quite naturally, call upon our imagination and our ability to feel empathy. --Publisher.
The Development of the Tunisian Field of Gender Politics 2011 -2014
348bladzijden
13 uur lezen
Eva Schmidt analyses how power relations, ideas, and institutions in Tunisian gender politics changed during the democratisation process 2011–2014. Her analysis of gender politics offers a productive lens to understand the course of the Tunisian transition. As gender policies are integral to Tunisian national identity, they became a major battlefield in the fight for political inclusion and exclusion. In this context, liberal and leftist feminists accessed the decision-making institutions and enhanced the existing women’s rights legislation. Yet the intertwinement of modernist nationalism with women’s rights also limited the scope for feminist demands. This book contributes a unique case study to political transitology and advances an original theoretical approach based on Bourdieu’s theory of the political field.
Stephen Willats schafft seit den 1960er-Jahren kommunikative Projekte, in denen er Menschen direkt zu Wort kommen lässt: Die Arbeit Fifteen Feet by Eight Feet, And There are Two of Us in Here widmet sich dem Berufsalltag eines Redakteurs. Unter Berücksichtigung von Archivmaterialien und ausführlichen Gesprächen des Künstlers mit dem Redakteur sowie weiteren Berufsinhabern, nimmt Eva Schmidt eine wichtige Werkgruppe Willats‘ erstmals in den Blick.
Stephen Willats schafft seit den 1960er-Jahren kommunikative Projekte, in denen er Menschen direkt zu Wort kommen lässt: Die Arbeit Fifteen Feet by Eight Feet, And There are Two of Us in Here widmet sich dem Berufsalltag eines Redakteurs. Unter Berücksichtigung von Archivmaterialien und ausführlichen Gesprächen des Künstlers mit dem Redakteur sowie weiteren Berufsinhabern, nimmt Eva Schmidt eine wichtige Werkgruppe Willats‘ erstmals in den Blick.
The author defends nonconceptualism, asserting that perceptual experience is nonconceptual and possesses nonconceptual content. Engaging with the ongoing debate from the past two decades, she presents a novel version known as Modest Nonconceptualism, offering a systematic overview of key controversies. The discussion begins with an explanation of nonconceptual content and a distinction among various nonconceptualist views. The author counters claims that the failure to differentiate between state and content views poses significant issues for these perspectives. She refines central arguments supporting nonconceptualism, including those related to fineness of grain, contradictory contents, and perceptions in animals and infants, as well as concept acquisition. Additionally, she addresses two major objections: the epistemological objection and the objection from objectivity, providing novel rebuttals. Modest Nonconceptualism permits some conceptual elements in perceptual experiences, highlighting the importance of concept employment in understanding both conceptual and nonconceptual mental states. It aligns with the Autonomy Thesis by asserting that genuine content-bearing perceptual experiences can occur without concept possession. The work concludes with an account of perceptual justification that relies on the external contents of experience and belief while remaining compatible with epistemological internalism.
Major drawings from his early work are devoted to illustrations or the study of horses#x92; bodies, and in his first painting of an animal, #x93;Portrait with Horses#x94;, painted in 1939, a person is depicted - supposedly Freud himself - together with four horses. The exhibition #x93;Lucian Freud and Animals#x94; in the Museum für Gegenwartskunst Siegen begins with these early pieces. Here, for the very first time ever, an exhibition is focusing on Lucian Freud#x92;s animal representations as a stand-alone exhibition theme. 00As Lucian Freud himself stated, he #x93;portrayed#x94; dogs and birds. Their body structure, their facial expression, the look in their eyes, and especially the quality of their fur and feathers are observed, drawn, and painted with vigorous attention to detail. Both animal species, particularly dogs, accompanied Freud throughout his life and were present in his studio on a daily basis. Freud also painted deceased animals, such as a lifeless chicken in the painting 'Chicken on a bamboo table', and later also dead bats. Another early piece with a surrealistic picture composition, 'Quince on a blue table#x94;, depicts the stuffed head of a zebra that the artist kept in his studio