Daniel Goleman - Foreign Audio
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View Rights PortalHorizontal together tells the story of 1960s art and queer culture in New York through the overlapping circles of Andy Warhol, underground filmmaker Jack Smith and experimental dance star Fred Herko. Taking a pioneering approach to this intersecting cultural milieu, the book uses a unique methodology that draws on queer theory, dance studies and the analysis of movement, deportment and gesture to look anew at familiar artists and artworks, but also to bring to light queer artistic figures' key cultural contributions to the 1960s New York art world. Illustrated with rarely published images and written in clear and fluid prose, Horizontal together will appeal to specialists and general readers interested in the study of modern and contemporary art, dance and queer history.
Little Shilu loves to dance around naked. She wants to be like the animals; like Pirate, her cat. When her grandmother Nannu says she can’t because she is now a big girl, Shilu gets down to understanding why she can’t. Peppered with Nannu’s loving chiding, intimate grandma-granddaughter bonding over conversations, and a heart-to-heart between the mother and this little inquisitive daughter, this book is a reflection of the wild and free nature of childhood. Rhuchi Mhasane’s soft evocative illustrations rendered in pencil with watercolour, and put together digitally, create a dreamlike charm. Richa Jha’s gentle, affectionate and lyrical text takes the reader into the mind of the little girl who can’t wait to get the answers to her ‘Why can’t I?’
Dunhuang music and dance are integral parts of China's history of music and dance. The millennia-long history of cave excavation and sculpture in the Dunhuang region has preserved a wealth of precious images and documentary materials related to music and dance. Situated at the crossroads of cultural exchange, collision, and fusion between Central Plains culture and Western Regions culture, Dunhuang music and dance exhibit not only distinct characteristics of Central Plains music and dance, but also elements from Western Regions music and dance, as well as foreign influences. Represented by the Mogao Grottoes and the manuscripts unearthed from the scripture caves, Dunhuang murals and texts greatly enrich the research materials of Chinese music and dance history.This book consists of four parts: "Enchanting Dunhuang," "Melodious Sounds," "Graceful Dance," and "Appreciation." Considering the readers' preferences, the book takes familiar elements such as mural scenes, poems, musical instruments, and dance forms as entry points. Through a combination of text and images, it presents specialized knowledge in an accessible and easily understandable language, enhancing its readability.
Granny loves to dance, until she finally forgets how to. I want to help Granny remember the thing she loved the most in the world.
The novel revolves around the heroine Basma, who suffers from a neurological disease. The sedative medications prescribed by her doctor have affected her memory and so she has become confused. She tries to restore her memory and her body, which has been plagued by painful spasms – something difficult for someone like her, a dancer and choreographer. The novel unfolds inconsistently, telling the story of Basma from childhood on, experiences with her first boyfriend, Ahmad, and her sickness after following the tragic departure of him and her father during the Lebanese civil war. In addition to Basma’s story, we read about the lives of the people she knew and liked throughout her life, including her friend, Anisa, and her emotionally and financially tight husband, and how writing changed her life and helped her fight her disability. We also read about Amina, who is emotionally hungry, and Nizar who investigated different politics and beliefs, ending up insane. In addition to other characters with stories that run in parallel with the main character, Basma, whose life centres on her relationship with her lover and husband, Youssef. A creative painter, his shifts towards fundamentalism lead her to separate from him as she is passionate about life, love and dancing. The novel accurately describes the similarities between her sick body and that of Arab cities collapsed due to the sectarian wars that took place after the so-called ‘Arab Spring’. The heroine documents her sickness to a virtual friend, describing what made her sick and how she resists her illness with will and determination. Her narrative expresses her rejection of religious, sectarian and terrorist extremism of all sects and religions, especially those that diverged from the true Islamic religion and its compassionate teachings. In this novel we find poignant human details and a graceful narration full of expressions that make the reader anxious to know more about the destinies of all its characters. Between the memory of a past saturated with loss and love, and a crueler present witnessed in collapsing cities, Basma clings to her body that keeps on betraying her. Who said that our lives and our bodies are different from the stories of our cities? Who among us knows if our most recent dance was the farewell dance, or a new beginning?
Music hall reflected the lifestyles and preoccupations of working people in a way that only television in the modern era has done since. While London dominated the wider British music hall, Glasgow was the centre of a vigorous Scottish performing culture developed in a Presbyterian society with a very different experience of industrial urbanisation. This book explores all aspects of the Scottish music hall industry, from the lives and professional culture of performers and impresarios to the place of music hall in Scottish life. It explores issues of national identity in terms of Scottish audiences' responses to the promotion of imperial themes in songs and performing material, and in the version of Scottish identity projected by Lauder and other kilted acts at home and abroad. ;
Dancing in the English style explores the development, experience, and cultural representation of popular dance in Britain from the end of the First World War to the early 1950s. It describes the rise of modern ballroom dancing as Britain's predominant popular style, as well as the opening of hundreds of affordable dancing schools and purpose-built dance halls. It focuses in particular on the relationship between the dance profession and dance hall industry and the consumers who formed the dancing public. Together these groups negotiated the creation of a 'national' dancing style, which constructed, circulated, and commodified ideas about national identity. At the same time, the book emphasizes the global, exploring the impact of international cultural products on national identity construction, the complexities of Americanisation, and Britain's place in a transnational system of production and consumption that forged the dances of the Jazz Age.
Samuel Hall Young, a Presbyterian clergyman, met John Muir when the great naturalist's steamboat docked at Fort Wrangell, in southeastern Alaska, where Young was a missionary to the Stickeen Indians. In "Alaska Days With John Muir" he describes this 1879 meeting: "A hearty grip of the hand and we seemed to coalesce in a friendship which, to me at least, has been one of the very best things in a life full of blessings." This book, first published in 1915, describes two journeys of discovery taken in company with Muir in 1879 and 1880. Despite the pleas of his missionary colleagues that he not risk life and limb with "that wild Muir," Young accompanied Muir in the exploration of Glacier Bay. Upon Muir's return to Alaska in 1880, they traveled together and mapped the inside route to Sitka. Young describes Muir's ability to "slide" up glaciers, the broad Scotch he used when he was enjoying himself, and his natural affinity for Indian wisdom and theistic religion. From the gripping account of their near-disastrous ascent of Glenora Peak to Young's perspective on Muir's famous dog story "Stickeen," Alaska Days is an engaging record of a friendship grounded in the shared wonders of Alaska's wild landscapes.
This book presents a wide range of previously unpublished works by Radclyffe Hall. These new materials significantly broaden and complicate critical views of Hall's writings. They demonstrate the stylistic and thematic range of her work and cover diverse topics, including 'outsiderism', gender, sexuality, race, class, religion, the supernatural and the First World War. Together, these texts shed a new light on unrecognised or misunderstood aspects of Hall's intellectual world. The volume also contains a substantial introduction, which situates Hall's unpublished writings in the broader context of her life and work. Overall, the book invites a critical reassessment of Hall's place in early twentieth-century literature and culture and offers rich possibilities for teaching and future research. It will be of interest to scholars and undergraduate and postgraduate students in the fields of English literature, modernism, women's writing, and gender and sexuality studies, and to general readers. ;
From children's book author Emily House comes a wonderful story that re-connects us with our planet. A modern fable inspired by recent events, Earth Takes a Break is a touching picture book jam-packed with fun illustrations and woven together with a message of hope. When Earth feels unwell, she goes to the doctor to ask for help. What the doctor prescribes seems impossible to Earth, until she wakes the next day to find a surprising change!
This book helps the readers know the european Renaissance, religious reform. geographic discovery and the formation of a national government,USA.
This collection includes the best short prose by the most successful Ukrainian female author. The reader will find here both recognized masterpieces that have been translated into many languages and sperformed on numerous European stages ("Alien", "Girls", "The Tale of the Guelder Rose Flute"), and little-known youthful attempts in various prose genres. The book concludes with a recently written story, which sums up the history of an entire generation, the "deferred war generation", through the drama of the misunderstanding between a mother and her daughter.
Sam is the award winning ballroom dancer. But one day his dad decides the boy must become a real man and enrolls him in the combat club. And that’s when the real adventures begins. Will Sam be able to withstand a much stronger opponent? Will he find his dance partner Anhelinka? You will learn about all this on the pages of this dynamic and humororus book.
Mei Lanfang's surviving literature amounts to more than 6 million words. Forty Years of Stage Life is the core of his works. It is a self-description of Mr. Mei Lanfang's life. It is the most convenient and reliable way to approach the master and understand his artistic life. The previous editions of the book were arranged according to the published versions under certain historical conditions. This is the first time for Mei Lanfang Memorial Hall to arrange the book according to the original manuscript, which is an original publication returning to the master's original intention based on the accumulation of long-term academic research and the revision of new materials. A large number of pictures of Mei Lanfang's stage performances, artistic creations and reports will be added to the book, as well as some hand-drawn illustrations restoring historical situations, in an effort to show and reproduce the radiance and splendor of the master artist and his unparalleled artistic life in a more comprehensive, full, real and beautiful way.
A text that transcends literary genres, this book concludes a path that runs through the author’s previous books: Al Ike fe Al Mabahej was Al Ahan (The Ike in the Joys and Sorrows) 2002, Kitab Al Ghewaya (The Book of Seduction) 2007, and Al Aar men Al Difatayn... Abeed Al Azmenah Al Hadethah fee Marakeb Al Tholomat (Shame on the Two Banks: Slaves of Modern Times in the Boats of Darkness) 2011. The theme of the book focuses on travel as a human activity and an example of human life. Hence the novel’s philosophical approach manifests itself as an examination of the different stages of travel as a metaphor for man’s journey from life to death. With this philosophical view the writer's prose fuses with cities and travel experiences, diving deep to describe the souls of the cities, going far beyond what can be captured by a camera. The book contemplates the styles of architecture and the meanings they represent, reflecting on the meaning of beauty and perfection, as well as the nature of aggression that resides in them. It reflects, too, on the meaning of living on an island and the symbolism of water, which makes travel a unique experience that increases the depth of life and compensates us for our short existence. The writer examines his visions by invoking publications that highlight travel, including The Thousand and One Nights, which he considers to be a travel book.
This book offers insights into some of the digital innovations, structural adaptations and analogue solutions that enabled live performance in the UK to survive through the COVID-19 pandemic. It provides evidence of values-led policies and practices that have improved the wellbeing of the creative workforce and have increased access to live performance. Through sections that address digital innovations, workforce resilience and programming live performances outdoors and in community settings, this book provides practical insights into the challenges live performance faced during the pandemic. It shows how, in order to survive, individuals and companies within the sector drew on the creativity and resourcefulness of its workforce, and on new and existing networks. In these accounts, the pandemic functioned as catalyst for technological innovations, stock-taking regarding exploitative industry structures, and a re-valuing of the role of live performance for community-building.
Imperialist discourse interacted with regional and class discourses. Imperialism's incorporation of Welsh, Scots and Irish identities, was both necessary to its own success and one of its most powerful functions in terms of the control of British society. Most cultures have a place for the concept of heroism, and for the heroic figure in narrative fiction; stage heroes are part of the drama's definition of self, the exploration and understanding of personal identity. Theatrical and quasi-theatrical presentations, whether in music hall, clubroom, Shakespeare Memorial Theatre or the streets and ceremonial spaces of the capital, contributed to that much-discussed national mood. This book examines the theatre as the locus for nineteenth century discourses of power and the use of stereotype in productions of the Shakespearean history canon. It discusses the development of the working class and naval hero myth of Jack Tar, the portrayal of Ireland and the Irish, and the portrayal of British India on the spectacular exhibition stage. The racial implications of the ubiquitous black-face minstrelsy are focused upon. The ideology cluster which made up the imperial mindset had the capacity to re-arrange and re-interpret history and to influence the portrayal of the tragic or comic potential of personal dilemmas. Though the British may have prided themselves on having preceded America in the abolition of slavery and thus outpacing Brother Jonathan in humanitarian philanthropy, abnegation of hierarchisation and the acceptance of equality of status between black and white ethnic groups was not part of that achievement.