‎TUTE Warren, COSTELLO John, HUGHES Terry‎
‎D-DAY‎

‎Reference Calendar and Notebook Day by Day./Kalendar-spravochnik i zapisnaya kn‎

‎"Reference Calendar and Notebook Day by Day./Kalendar-spravochnik i zapisnaya knizhka Den za dnem. M.; Pg.: Gosizdat, 1924.. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-f018a981f71673fd."‎

‎Feklyaev V. October 7: Constitution Day of the USSR: poster./Feklyaev V. 7 okty‎

‎Feklyaev V. October 7: Constitution Day of the USSR: poster./Feklyaev V. 7 oktyabrya Den konstitutsii SSSR: plakat. M.: Poster, 1982. 60x90 sm. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-adcd15600c23200d.‎

‎Webb S., Cox H. 8-hour day./Vebb S., Koks Kh. 8-michasovoy rabochiy den. ‎

‎Webb S., Cox H. 8-hour day./Vebb S., Koks Kh. 8-michasovoy rabochiy den. Moscow, Levenson Press Association, 1893. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-cb46d5c305d0e6db.‎

‎From Sun-Day to the Lord's Day. The Cultural History of Sunday in Late Antiquity and the Early Middle Ages‎

‎, Brepols, 2023 Hardback, 528 pages, Size:156 x 234 mm, Illustrations:8 b/w, 2 tables b/w., 1 maps b/w, Language(s):English, German. ISBN 9782503598260.‎

‎Summary Ever since the Christianization of the planetary week in Late Antiquity, the notion of Sunday as a day of rest, as well as the rhythm of a seven-day week, has been a constant. Yet the cultural history of Sunday in Late Antiquity and the Early Middle Ages is complex. Detailed research reveals a greater diversity than appears at first glance. For example, Sunday did not simply replace the Sabbath, nor was the Jewish Sabbath commandment directly adopted. Furthermore, the Sunday laws of Emperor Constantine officially gave the inhabitants of the Roman Empire a day of rest free of work, but the effect and reception of the laws is hard to grasp, even among Christian authors. Moreover, Sunday was by no means a central theme in the history of late antique Christianity, so that the scattered references must be interpreted. This edited collection, based on a conference in Vienna in 2019, investigates the relevance of Sunday and the weekly rhythm in Late Antiquity and the Early Middle Ages in the everyday life of people, in monasticism, in synods, in further imperial and ecclesiastical laws, and in disciplinary and liturgical developments. It also covers controversies with the Jewish Sabbath as well as reflections on the aspect of rest, freedom, and of charity. While exploring different views and regional differences, the contributions show the growing importance of the Lord's Day, especially since the sixth century, as part of the Christianization of society and the sacralization of the calendar. TABLE OF CONTENTS From Sun-Day to the Day of the Lord: Introduction ? Uta Heil Imperial Legislation Christianisation of the Empire or Power Struggle with Licinius? The Sunday Legislation of Constantine the Great and Its Historical Context ? Fritz Mitthof Missachtung der Sonntagsruhe als Kapitalverbrechen. Einige Bemerkungen zu dem Neufund einer sp tantiken Kaiserkonstitution aus Anaia ? Uta Heil / Fritz Mitthof The Emperor Never Rests ? Sofie Remijsen Parting of the Days Sabbath or Sunday? Rabbis and Church Fathers in Dialogue ? G nter Stemberger Redefining the Sabbath Rest in the Sermons of Augustine: Of Heart, (Re)Quies, and Time ? Marie-Ange Rakotoniaina Structuring of Time Business as Usual? Sunday Activities in Aphrodito (Egypt, Sixth to Eighth Century AD) [evidence mainly from papyri] ? Sofie Remijsen In Search of Synodical Activities on Sundays ? Thomas Graumann Sunday in Late Antique Arabia and Palestine according to Epigraphy and Hagiography ? Basema Hamarneh The Sunday in Palestinian Monasticism ? Andreas M ller Discipline and Punishment The Christian Sunday in the Sixth Century: The Sunday Discourse in Politics ? Mischa Meier Hagiography and the Canons on Sunday Work ? Ian Wood Sunday and the Organisation of Freedom in Late Roman Law and Early Medieval Liturgy ? Els Rose Sunday Observance ? Norms and Norm Deviation in Late Antiquity ? Wolfram Kinzig Liturgical Celebration Remarks on Sunday in the Early Church ? Michael Durst Sunday Celebration in the Early Church:A Review of Basic Structures, Characteristic Elements and Significant Developments ? Harald Buchinger Not Every Sunday Is the Same:Observations on the Development of the 'Sunday propria' in the Liturgies of the Old Gallican Rite in the Early Middle Ages ? Volker Drecoll Propter magna mysteria: Some Observations on Sunday and on Numerology in Walahfrid Strabo's Handbook ? Richard Corradini *** Indexes Bible Passages Sources Names and Places Councils/Synods‎

‎RINUS VAN DE VELDE A Life in a Day.‎

‎Antwerp, Tim Van Laere, 2023 Hardcover,158 pages, Illustrated., Quadrilingual: English, Dutch, French, Italian .FINE. ISBN 9789464004243.‎

‎Tim Van Laere Gallery presents A Life in A Day, Rinus Van de Velde's seventh solo exhibition at the gallery. In this exhibition, the artist not only presents new drawings in oil pastel, colored pencil, and charcoal but also premieres his third film, A Life in A Day, along with a selection of sculptures featured in the film.. Rinus Van de Velde's oeuvre reads like a multiverse, in which different storylines always run parallel to one another. He has already created several alter egos that allow him to appropriate different personas and explore worlds that do not (yet) belong to him. Throughout these different worlds, the constant anchor point is the artist himself. Through impersonations, constructed lies, and appropriations, he comes closer to uncovering the truth about his own identity and artistry. His latest film also mirrors this process. In his debut film, The Villagers, Van de Velde started from a predefined narrative, in which the artist himself played a small role as spectator. That narrative already evolved into a more abstract form in his second film, La Ruta Natural. For this film, the artist had a mask made in his likeness allowing one of his assistants to embody the artist?s role. This allowed Van de Velde to observe himself from a distance and portray and analyze his artistry. This same mask reappears in A Life in A Day. While La Ruta Natural?s storyline focused on the creation and destruction of his various alter egos, A Life in A Day delves into Van de Velde's artistry in a more intimate and pure way, inviting us to partake in the artist's inner process. The film opens with a very mundane scene where the artist wakes up, gets dressed, and then walks out the door with his briefcase to start his day. The motif of the briefcase plays an important role here as the depiction of a bundle of thoughts, ideas, and visualizations. It also plays an important role in the encounter between the artist and his gallerist Tim Van Laere, with the briefcase symbolising the dialogue between the two figures. After his daily activities, the artist then enters his imaginary universe, where he walks into a natural scenery. Here, in his solitude, the artist finds a moment of peace and takes his place like a pleinairist to create new work. This desire is visible in the oil pastel drawings in the first space of the exhibition, where the majority focuses on natural landscapes. Then he takes a shortcut to an underground, deeply hidden space, where we find the artist's inner vault. Within this archive, the artist meticulously organizes all his ideas, thoughts, images, and texts. This process of exploration, deepening, appropriating, and reinventing also resonates within the exhibition, where charcoal, oil pastel, colored pencil drawings, and sculptures are showcased. All of these works speak volumes about the artist: about his ambitions, doubts, concerns, his moments of happiness, but also of loneliness, frustration, and sadness. The predominance of the artist's personal voice in all his works makes it possible for him to appropriate any style, without losing his own identity in it. Works by Picasso, Van Gogh, Ensor, Matisse, Armen Eloyan, and Alfred Wallis are unmistakably redirected to a Rinus Van de Velde. The fact that the artist looks a lot to his predecessors and also immerses himself completely in their work is also portrayed in his latest film, in which he defies gravity while climbing through a hatch into a swimming pool that refers to David Hockney. In this scene, too, Van de Velde appropriates the pool by the simple act of washing out his brushes in the pool, resulting in a transformation of the water?s hue. Rinus Van de Velde (b. 1983 in Leuven, Belgium) lives and works in Antwerp. Work by the artist is in several international collections, including S.M.A.K. (Ghent), M HKA (Antwerp), Royal Museums of Fine Arts of Belgium (Brussels), CAC (Malaga), Kunstmuseum Luzern (Lucerne), FRAC des Pays De La Loire (Nantes), Museum Voorlinden (Wassenaar), Kunstmuseum (The Hague), AZ Artgestion Collection (Bilbao), Kunsthalle Sao Paolo (Sao Paolo), KWM Art Center (Shangai), KPN Art Collection (Netherlands), Stad Antwerpen (Antwerp), Erasmus University (Rotterdam), Belfius Art Collection (Brussels) and Colleccion Solo (Madrid).‎