Robin Wilson Knihy

The first in Robert Wilson's Seville series, featuring the tortured detective Javier Falcon. The man is bound, gagged and dead in front of his television. The terrible self-inflicted wounds tell of his violent struggle to avoid some unseen horror. On the screen? In his head? What could make a man do that to himself? It's Easter week in Seville, a time of passion and processions. But detective Javier Falcon is not celebrating. Appalled by the victim's staring eyes he is inexorably drawn into this disturbing, mystifying case. And when the investigation into the dead man's life sends Javier trawling though his own past and into the shocking journals of his late father, a famous artist, his unreliable memory begins to churn. Then there are more killings and Falcon finds himself pushed to the edge of a terrifying truth!

Mario Vega is seven years old and his life is about to change forever. Across the street, his father lies dead on the kitchen floor and his mother has been suffocated under her own pillow. It appears to be a suicide pact, but Inspector Javier Falcon has his doubts when he finds a note crushed in the dead man's hand."

Suddenly, Javier Falcon finds himself at the centre of a full-scale terrorist alert. High-profile arrests, a series of explosions and a suspect publicly gunned down in the street rock the city to its core. But it is only when the cell goes missing that Falcon makes the most terrifying discovery of all."

This book explores the evolution of graph theory in North America from 1876 to 1976. It begins with James Joseph Sylvester, a prominent mathematician who became the first professor of mathematics at Johns Hopkins University and introduced the modern concept of "graph" in his inaugural lecture, linking it to algebra and chemistry. A century later, in 1976, Kenneth Appel and Wolfgang Haken solved the long-standing four color problem, marking a significant milestone in the field. The narrative traces graph theory's development, highlighting both well-known and lesser-known figures. While many mathematicians dedicated their careers to graph theory, some, like Hassler Whitney, transitioned to other areas, and others, including C. S. Peirce and George Birkhoff, made contributions while focusing on different fields. Interspersed throughout are contextual interludes detailing the growth of the American university system and the parallel advancements in Europe. Additionally, the book summarizes key publications that shaped the discipline. Overall, it chronicles how graph theory emerged, took root, and thrived in America.

Set in West Africa, this third novel in the author's Bruce Medway series finds the protagonist caught up in a savage world where a power-hungry Nigerian presidential candidate, a rich blow-loving American and a mafia capo are fighting a silent war in which pawns are badly needed.

At first encounter with any of Robert Wilson's main stage works can be literally overwhelming. The sheer beauty of his theatrical visions, the dreamy rightness of the action, the hypnotic blend of non-linear disjunction and deeper coherence... all of these seize one's attention and, if one is particularly susceptible to Wilson's power, compel one into thinking that nothing like this can ever have happened on a stage before. To characterize Robert Wilson's work as a summation of his activities as a teacher, writer, sculptor, painter, designer, architect and theater director would be to emphasize the diversity of his talents and overlook the coherence which underlies his work. This exhibition of Wilson's work was designed to expand our perception as we continue to view and review the impact of many arts upon the visual world.

Exploring the intersection of theater and design, this book highlights Robert Wilson's innovative approach to chair design within his artistic oeuvre. Since the 1960s, Wilson has integrated uniquely crafted chairs into his productions, treating them as integral components of his performances. Featuring works from 1969 to 2011, the publication showcases a diverse range of materials and styles, including the Parzival Sofa and the Clementine Hunter Rocker. It also reveals Wilson's dual role as a designer and collector, presenting several previously unexhibited pieces.

What was the original purpose of the Gospel of Matthew? For whom was it written? In this two-volume commentary, Walter Wilson interprets Matthew as a catechetical work reflecting the ideological and institutional concerns of disaffected Jewish followers of Jesus in the late first century CE. Wilson’s thesis frames Matthew’s Gospel as a continuation of the biblical narrative and a didactic text aimed at shaping the identity of a dissident minority. It clarifies Jesus’s Jewish character as the “Son of David,” while contrasting him with prominent religious leaders, particularly the Pharisees, and showing his openness to non-Jews. Through meticulous engagement with the Greek text and relevant literature, Wilson provides insights into the first book of the New Testament. After an introduction that covers the text's background, genre, literary features, and theological orientation, he offers thorough commentary on each passage, addressing topics like morality, liturgy, mission, group discipline, and eschatology. Scholars, students, pastors, and readers interested in the unique aspects of Matthew among the Synoptics will benefit from Wilson’s deep contextualization, informed by his extensive study of the New Testament and Christian origins.

What was the original purpose of the Gospel of Matthew? For whom was it written? In this two-volume commentary, Walter Wilson interprets Matthew as a catechetical work reflecting the ideological and institutional concerns of disaffected Jewish followers of Jesus in the late first century CE. Wilson argues that Matthew's Gospel serves as both a continuation of the biblical narrative and a didactic text aimed at shaping the identity of a beleaguered minority. The text emphasizes Jesus's Jewish identity as the "Son of David," while contrasting him with contemporary religious leaders, particularly the Pharisees, and illustrating his openness to non-Jews. Through careful analysis of the Greek text and relevant sources, Wilson provides valuable insights into the first book of the New Testament. The introduction covers the text's background, genre, literary features, and theological orientation. Wilson then offers detailed commentary on each passage, addressing the intended messages to first-century readers regarding morality, liturgy, mission, group discipline, and eschatology. Scholars, students, pastors, and readers interested in the distinctiveness of Matthew among the Synoptics will find Wilson's contextualization of the text both enlightening and beneficial, drawing from his extensive study of the New Testament and Christian origins.