The Maronites in History

Re-examining seventeenth-century French style Between 1678 and 1710, Parisian presses printed hundreds of images of elegantly attired men and women dressed in the latest mode, and posed to display every detail of their clothing and accessories. Long used to illustrate dress of the period, these fashion prints have been taken at face value and used uncritically. Drawing on perspectives from art history, costume history, French literature, museum conservation and theatrical costuming, the essays in this volume explore what the prints represent and what they reveal about fashion and culture in the seventeenth century. With more than one hundred illustrations, Fashion Prints in the Age of Louis XIV constitutes not only an innovative analysis of fashion engravings, but also one of the most comprehensive collections of seventeenth-century fashion images available in print.

This text plugs a gap in the standard curriculum by linking set theory with analysis. It features a distinctive, detailed treatment of the real numbers system, and combines an introduction to set theory with exposition of the essence of analysis.

Phoebe Mullins spent years as a peacemaker between her conductor husband and the music world's most petulant stars. But when she lands a job at an aging diva's opera school, she has no idea that her shrewd knack for diplomacy will be tested once again. At the exclusive Long Island opera colony of singing legend Anna Varovna, residents are rehearsing their summer production of Così fan tutte. But Phoebe quickly sees that relations offstage are than cozy, and Mozart's honeyed melodies soon give way to high-decibel melodrama. Then handsome baritone Frank Palermo is found dead of an allergy to the penicillin pill covertly planted among his vitamins--and Anna urges Phoebe to make some discreet inquiries.

Could Frank's recent joining of the Children of Truth cult have somehow earned him an early grave? And why did Frank, clutching his opera score as he died, scratch an X on the name "Amadeus"? Before Phoebe can make sense of it all, a fatal cacophony of love, lust, genius, and guilt reveals itself--and the tempo accelerates as death strikes again.

Julia Phillips became a Hollywood player in the freewheeling 1970s, the first woman to win the Best Picture Oscar as co-producer of The Sting. She went on to work with two of the hottest young directorial talents of the era: Martin Scorsese (Taxi Driver) and Steven Spielberg (Close Encounters of the Third Kind). Phillips blazed a trail as one of the very few females to break into the upper echelons of a notoriously chauvinistic industry. But for all her success, Phillips remained an outsider in the all-male Hollywood club. She had a talent for deal-making, hard-balling and wise-cracking, and a considerable appetite for drink, drugs, and sex.

But while these predilections were tolerated and even encouraged among 'the boys', Phillips found herself gradually ostracized. By the late 1980s, she was ready to burn bridges and name names, and the result was this coruscating memoir of her career. Julia Phillips died on January 1, 2002, at the age of 57, but her book will stand as one of the classic exposes of La-La-Land in all its excesses and iniquities.

Max Templeton had been tapped by the mysterious Blackwell Group to catch the one man who had escaped him.

Packing his bags for Chicago, Max had to crack the case before another body turned up. Luckily, he had his new assistant Cassie Clark in tow. The ill-humored inspector needed the lovely Cassie by his side--even if he was too stubborn to admit it. And despite her whip-smart mouth, Cassie had demons of her own. Being back in the Windy City was sure to blow trouble her way--though this time she had a dashing Englishman to keep her safe. Not that she needed him. Now, with a resurfaced killer on the loose, neither was looking at a good night's rest--un they began seeing eye to eye.

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.