The Brochs of Mousa and Clickhimin

Hamilton, John

Sorrell, Alan

The Stationery Office Books

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's Neveu de Rameau, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance.

Music, Madness, and the Unworking of Language (Columbia Themes in Philosophy, Social Criticism, and the Arts)

Literature & Fiction

History & Criticism

Columbia University Press

“One of the best books of its kind, and at a good price. Hamilton...starts with the bare essentials of sketching and then builds the student’s confidence by advancing through exercises in lighting, perspective, and still lifes and on to larger outdoor scenes.”—Library Journal.

The Complete Sketching Book

Arts & Photography

Studio Vista

Gallipoli Sniper

Macmillan,Australia

A history of the naval battles of World War II is illustrated with color paintings of the conflicts

War at Sea 1939-1945

History

Military

Random House Value Publishing

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The Magic Sieve: A Play in Two Scenes. With an Irish version

Trieste Publishing

No damage, No DJ, cut pieces laid in, Very slight signs of age or use. 1986, 10 1/2" By 14". No International or Priority.

War at sea, 1939-1945

Distributed in the U.S. by Sterling Pub., Co

War at Sea: Limited Edition

Sterling Pub. Co., Inc.

“Hamilton explains, in a fine text accompanied by many simple sketches and finished drawings, how to sketch. He succeeds in encouraging development of competence and increasing satisfaction for amateur artists using the simple materials of paper, pencil, and eraser. Concentrates on fundamentals: how to hold a pencil and compose a drawing; and creating the illusions of depth and distance.” —Kliatt.

Sketching With a Pencil: For Those Who Are Just Beginning

The presence of helicopters was crucial to the success of the Falklands campaign, and in this book John Hamilton, looks at their role and that of their crews and ground staff. Using his brush to tell the story in pictures as a writer uses a pen, the artist highlights the professionalism of the pilots, the navigators and the maintenance crews, and shows the aircraft themselves in action. From the disaster of the loss of the Atlantic Conveyor to the unsung heroism of the people who kept the helicopters flying at all costs, his paintings tell the story of the war from a new perspective. The project took over four years to complete, and in his search for authenticity, Hamilton visited every spot where helicopters were involved in action. In the UK, he had the co-operation of all the services to ensure the accuracy and detail of his work. The result is a collection of fifty paintings which makes a contribution both to contemporary military history and to the more general field of aviation art. It is a tribute to the machines and the men who contributed to the final victory.

The Helicopter Story of the Falklands Campaign

David & Charles, UK

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