An unmissable, heartwarming adventure full of mystery, friendship, courage and dance – from Sunday Times bestselling author and ballroom star, Anton Du Beke! With gorgeous illustrations by Elisa Paganelli, Code Name Foxtrot is perfect for fans of Ben Miller, Emma Carroll and Michael Morpurgo. A MYSTERY TO SOLVE. A SPY TO CATCH. A SHOW TO SAVE. Maybe by Christmas, the war will be over and we’ll be back with Mum and Dad . . . London, 1940: the world is at war and 10-year-old twins Harry and Rosie are evacuated to live with their mysterious great uncle on the stormy Lancashire coast. Missing home, they throw themselves into the local dance show – determined to do their bit and maybe even dance at the famous Blackpool Winter Gardens. But when Harry sees strange lights out on the rocks one night, he and Rosie realize their new home is hiding some huge secrets. Racing to uncover the truth, the twins learn that bravery comes in many forms and even in the worst of times, the show must go on . . . ‘An exciting adventure with all the speed and style of Anton’s dancing’ Jacqueline Wilson
In the city of love, a stranger will change everything. Paris, 1926. A young dancer Ray Cohen arrives from London to compete at the Exhibition Paris. He is led astray by Hugo, a charismatic dancer born of the streets, who introduces him to the city's nightlife and a beautiful stranger called Hannah Lindt. His life is forever changed. London, 1941. With the heroic Raymond de Guise away fighting in North Africa, his beloved wife Nancy must balance her new position - as Head of Housekeeping at the Buckingham Hotel - with her duties as a new mother to their child. As the war rages on, someone from Raymond's past arrives at Nancy's doorstep, asking for help. As dark secrets rise to the surface, everything Raymond loves comes under threat. Will tragedy strike?
Since the 1970s, the development of normalization philosophy and the implementation of community care policies have highlighted the nature and treatment of psychiatric and behavior disorders in people with mental retardation and rekindled the interest of scientists, psychiatric practitioners, and service providers. With these changes has grown a substantial body of new research and information on the phenomenology, epidemiology, classification, and clinical features of mental illness and behavior disorders in mentally retarded persons. In response to this growing interest and awareness, the editors, together with internationally renowned contributors from the United States and Europe, have compiled the first comprehensive handbook of the current theory and practice of mental health treatment and care in mentally retarded children and adults. Both contemporary and in-depth, this multidisciplinary, multidimensional volume covers all available therapeutic methods, including psychopharmacotherapy, psychotherapy, behavior therapies, cognitive therapy, and the systems approach for all the main diagnostic disorders in people with mental retardation. Parts I and II present an overview of epidemiology and clinical presentation, including research trends, and therapeutic methods, including psychotherapy, psychopharmacology, behavioral therapies, cognitive and social learning treatments, and working with families and caregivers. Parts III and IV focus on psychotherapeutic interventions, such as rational emotive group treatment with dually diagnosed adults, pre-therapy for persons with mental retardation who are also psychotic, and systemic therapy, and how to apply these methods to the treatment of specific mental illnesses, such as schizophrenia, epilepsy, and mood and anxiety disorders. Parts V and VI discuss how to treat behavior disorders such as aggression/self-aggression (pharmacotherapy and strategic behavioral interventions) and self-injurious behaviors (multimodal contextual approach), including group therapy for sex offenders and a pedagogical approach to behavior problems, and which treatment methods, such as psychodynamically oriented psychotherapy and pharmacotherapy, are most effective with children, including developmental-dynamic relationship therapy with more severely mentally retarded children. Parts VII and VIII provide guidance on mental health services and staff training, including psychiatric treatment in community care and a model for inpatient services for mentally ill persons with mental retardation, and the editors final chapter, which draws together all the various therapeutic approaches described in previous chapters to provide a practical framework for an integrative approach. Filling a major gap in the literature, this indispensable resource for psychiatrists, psychologists, and educators working with mentally retarded persons is also intended for general practitioners, doctors, social workers, and therapists working in the same or related fields.
Assorted Collection of Autobiographical Writings of the Renowned Russian Author and Playwright of Uncle Vanya, The Cherry Orchard, The Three Sisters and The Seagull
Assorted Collection of Autobiographical Writings of the Renowned Russian Author and Playwright of Uncle Vanya, The Cherry Orchard, The Three Sisters and The Seagull
Musaicum Books presents to you "ANTON CHEKHOV - The Man Behind The Books: Letters, Diary, Memoirs & Biography". This eBook edition has been formatted to the highest digital standards and adjusted for readability on all devices. Excerpt: "DEAR BROTHER MISHA, I got your letter when I was fearfully bored and was sitting at the gate yawning, and so you can judge how welcome that immense letter was. Your writing is good, and in the whole letter I have not found one mistake in spelling. But one thing I don't like: why do you style yourself "your worthless and insignificant brother"? You recognize your insignificance? … Recognize it before God; perhaps, too, in the presence of beauty, intelligence, nature, but not before men. Among men you must be conscious of your dignity. Why, you are not a rascal, you are an honest man, aren't you? Well, respect yourself as an honest man and know that an honest man is not something worthless. Don't confound "being humble" with "recognizing one's worthlessness." …" (Letters of Anton Chekhov To His Family and Friends) Anton Chekhov (1860 -1904) was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. Chekhov practised as a medical doctor throughout most of his literary career. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them. Contents: Biography by Constance Garnett Autobiographical Writings: Letters of Anton Chekhov to his Family and Friends Notebook of Anton Chekhov Reminiscences of Anton Chekhov: Fragments of Recollections by Maxim Gorky A. P. Chekhov by Ivan Bunin To Chekhov's Memory by Alexander Kuprin
A Collection of Autobiographical Writings of the Renowned Russian Author and Playwright of Uncle Vanya, The Cherry Orchard, The Three Sisters and The Seagull
A Collection of Autobiographical Writings of the Renowned Russian Author and Playwright of Uncle Vanya, The Cherry Orchard, The Three Sisters and The Seagull
This carefully edited collection has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Excerpt: "DEAR BROTHER MISHA, I got your letter when I was fearfully bored and was sitting at the gate yawning, and so you can judge how welcome that immense letter was. Your writing is good, and in the whole letter I have not found one mistake in spelling. But one thing I don't like: why do you style yourself "your worthless and insignificant brother"? You recognize your insignificance? … Recognize it before God; perhaps, too, in the presence of beauty, intelligence, nature, but not before men. Among men you must be conscious of your dignity. Why, you are not a rascal, you are an honest man, aren't you? Well, respect yourself as an honest man and know that an honest man is not something worthless. Don't confound "being humble" with "recognizing one's worthlessness." …" (Letters of Anton Chekhov To His Family and Friends) Anton Chekhov (1860 -1904) was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. Chekhov practised as a medical doctor throughout most of his literary career. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them. Contents: Biography by Constance Garnett Autobiographical Writings: Letters of Anton Chekhov to his Family and Friends Notebook of Anton Chekhov Reminiscences of Anton Chekhov: Fragments of Recollections by Maxim Gorky A. P. Chekhov by Ivan Bunin To Chekhov's Memory by Alexander Kuprin
Assorted Collection of Autobiographical Writings of the Renowned Russian Author and Playwright of Uncle Vanya, The Cherry Orchard, The Three Sisters and The Seagull
Assorted Collection of Autobiographical Writings of the Renowned Russian Author and Playwright of Uncle Vanya, The Cherry Orchard, The Three Sisters and The Seagull
This carefully crafted ebook: “The Life and Genius of Anton Chekhov: Letters, Diary, Reminiscences and Biography” is formatted for your eReader with a functional and detailed table of contents. Excerpt: “DEAR BROTHER MISHA, I got your letter when I was fearfully bored and was sitting at the gate yawning, and so you can judge how welcome that immense letter was. Your writing is good, and in the whole letter I have not found one mistake in spelling. But one thing I don't like: why do you style yourself “your worthless and insignificant brother”? You recognize your insignificance? … Recognize it before God; perhaps, too, in the presence of beauty, intelligence, nature, but not before men. Among men you must be conscious of your dignity. Why, you are not a rascal, you are an honest man, aren't you? Well, respect yourself as an honest man and know that an honest man is not something worthless. Don't confound “being humble” with “recognizing one's worthlessness.” …” (Letters of Anton Chekhov To His Family and Friends) Anton Chekhov (1860 -1904) was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. Chekhov practised as a medical doctor throughout most of his literary career. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them. Contents: Biography by Constance Garnett Autobiographical Writings: Letters of Anton Chekhov to his Family and Friends Notebook of Anton Chekhov Reminiscences of Anton Chekhov: Fragments of Recollections by Maxim Gorky A. P. Chekhov by Ivan Bunin To Chekhov's Memory by Alexander Kuprin
This eBook edition of "The Autobiographical Writings of Anton Chekhov" has been formatted to the highest digital standards and adjusted for readability on all devices. Excerpt: "DEAR BROTHER MISHA, I got your letter when I was fearfully bored and was sitting at the gate yawning, and so you can judge how welcome that immense letter was. Your writing is good, and in the whole letter I have not found one mistake in spelling. But one thing I don't like: why do you style yourself "your worthless and insignificant brother"? You recognize your insignificance? … Recognize it before God; perhaps, too, in the presence of beauty, intelligence, nature, but not before men. Among men you must be conscious of your dignity. Why, you are not a rascal, you are an honest man, aren't you? Well, respect yourself as an honest man and know that an honest man is not something worthless. Don't confound "being humble" with "recognizing one's worthlessness." …" (Letters of Anton Chekhov To His Family and Friends) Anton Chekhov (1860 –1904) was a Russian physician, dramaturge and author who is considered to be among the greatest writers of short stories in history. Chekhov practised as a medical doctor throughout most of his literary career. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them. Contents: Biography by Constance Garnett, Autobiographical Writings: Letters of Anton Chekhov to his Family and Friends, Notebook of Anton Chekhov, Reminiscences of Anton Chekhov: Fragments of Recollections by Maxim Gorky, A. P. Chekhov by Ivan Bunin, To Chekhov's Memory by Alexander Kuprin
What more do I want? But I'm getting a noise in my ears from excitement. [Drinks] And it's impossible for me not to marry.... In the first place, I'm already 35-a critical age, so to speak. In the second place, I ought to lead a quiet and regular life.... I suffer from palpitations, I'm excitable and always getting awfully upset.... At this very moment my lips are trembling, and there's a twitch in my right eyebrow.... But the very worst of all is the way I sleep. I no sooner get into bed and begin to go off when suddenly something in my left side-gives a pull, and I can feel it in my shoulder and head.... I jump up like a lunatic, walk about a bit, and lie down again, but as soon as I begin to get off to sleep there's another pull! And this may happen twenty times....
Do you know your Botafago from your Volta Cross? Ever wondered how the Foxtrot got its name? Why is the Quick Step so quick? Which is easier, the standard Ballroom dances or the Latin ones? If you don't know the answer to most of these questions but fancy yourself as something of an armchair aficionado when it comes to Ballroom dancing, this book is for you. It will lead you into the wonderful world of Ballroom and teach you everything you need to know, without, if necessary, you even having to reach for your dancing shoes. As you'll soon discover, B is for Ballroom does exactly what the title suggests. Set out in an A to Z format it's the ultimate companion for anyone interested in Ballroom - whether you're nine years old or over ninety. It will teach you everything you need to know about this most beloved form of dance without you even having to take a class, break a leg or be dragged across the floor.
A brilliant, life-transforming read' – Jennifer West 'Full of great advice on how to live your best true life' – Jaymi Hensley Anton Danyluk has been on an incredible journey, from awkward, overweight teenager to World Merit ambassador, Love Island favourite, Instagram star and respected fitness trainer. Having overcome his own personal challenges, Anton sets out the simple steps you can take to feel good about yourself every day. Anton is on a mission to encourage others who are struggling with their wellbeing and fitness, and wants to help everyone live healthy and happy lifestyles – and if Anton can do it, so can you. Open and honest, engaging and relatable, this part-practical, part-autobiographical book will motivate and empower you on the journey towards your best self. - Develop a strong sense of who you really are - Embrace opportunity – and you'll never fear failure again - Make exercise your medicine – you won't believe how good you can feel - Get the body you want – without going to extremes Anton's level-headed and achievable advice has everything you need to feel good, look great and live the best version of yourself.
Downton with dance, perfect!' Santa Montefiore Prepare to be swept off your feet by the romantic and irresistible new novel from Sunday Times bestselling author and Strictly Come Dancing star Anton Du Beke London, 1937. With a new king in place, tensions are rising in London and across Europe. Shaken by the Great Depression and with talk of another war coming, the Buckingham Hotel is trying to regain some stability. Upstairs, Vivienne Edgerton is desperate to do something worthwhile with her time and her stepfather's money, rather than spending it on frivolity and debauchery - but will this land her in even more trouble? And downstairs, chambermaid Nancy Nettleton is finally starting to feel more settled at the Buckingham, and hopes her brother will soon call London home, too. But she misses the man she loves, demonstration dancer Raymond de Guise, who is noticeably absent from the Grand Ballroom dance floor. The staff and guests of the Buckingham soon discover that in a hotel full of secrets, there's always someone listening . . .
The Old Grey By: Michael A. D'Anton IV The Old Grey is about a man who never knew what he would do in his life, and instead of going out into the world to discover his passion, he waited for the world to bring passion to him. He wastes his life waiting for something great to happen instead of making greatness happen. After years of this misery, he finds the light that guides him to a second chance of living his life in a way where he could be truly happy with himself. Learn the crucial life lesson that you can't wait for life to go your way; you have to go out there and find something you love and make life the way you want it to be.
Artificial Intelligence will either be the best or worst thing to happen to humanity. We do not yet know which. – Stephen Hawking As AI becomes more pervasive in every aspect of human life, there is an urgent need to understand it and harness it in a way that benefits mankind. But where do we begin? Will AI Dictate the Future breaks down this complex subject by examining AI’s impact on key sectors of our societies. Each chapter delves into one sector in turn, probing the myriad risks and opportunities brought about by AI: Healthcare Law Manufacturing Cybersecurity Mobility Financial Services Education Satellite Systems Government Written by Dr Anton Ravindran, together with chapters contributed by leading experts in their fields, this invaluable book provides a clear, comprehensive and authoritative look at how AI – managed wisely – can change the world for the better.
The Seagull is the first of Anton Checkov's four full-length plays. It explores the romantic and artistic tension in the relationships between a young woman, a fading older lady, her playwright son and a popular story writer. The play references Shakespeare's Hamlet both in text and content. It has a cast of eclectic characters whose principle dramas play themselves out off stage and in unvoiced subtext.The scene is laid in the park on SORIN'S estate. A broad avenue of trees leads away from the audience toward a lake which lies lost in the depths of the park. The avenue is obstructed by a rough stage, temporarily erected for the performance of amateur theatricals, and which screens the lake from view. There is a dense growth of bushes to the left and right of the stage. A few chairs and a little table are placed in front of the stage. The sun has just set. JACOB and some other workmen are heard hammering and coughing on the stage behind the lowered curtain.MASHA and MEDVIEDENKO come in from the left, returning from a walk.MEDVIEDENKO. Why do you always wear mourning?MASHA. I dress in black to match my life. I am unhappy.MEDVIEDENKO. Why should you be unhappy? [Thinking it over] I don't understand it. You are healthy, and though your father is not rich, he has a good competency. My life is far harder than yours. I only have twenty-three roubles a month to live on, but I don't wear mourning. [They sit down]. MASHA. Happiness does not depend on riches; poor men are often happy.MEDVIEDENKO. In theory, yes, but not in reality. Take my case, for instance; my mother, my two sisters, my little brother and I must all live somehow on my salary of twenty-three roubles a month. We have to eat and drink, I take it. You wouldn't have us go without tea and sugar, would you? Or tobacco? Answer me that, if you can.MASHA. [Looking in the direction of the stage] The play will soon begin.MEDVIEDENKO. Yes, Nina Zarietchnaya is going to act in Treplieff's play. They love one another, and their two souls will unite to-night in the effort to interpret the same idea by different means. There is no ground on which your soul and mine can meet. I love you. Too restless and sad to stay at home, I tramp here every day, six miles and back, to be met only by your indifference. I am poor, my family is large, you can have no inducement to marry a man who cannot even find sufficient food for his own mouth. MASHA. It is not that. [She takes snuff] I am touched by your affection, but I cannot return it, that is all. [She offers him the snuff-box] Will you take some?MEDVIEDENKO. No, thank you. [A pause.]MASHA. The air is sultry; a storm is brewing for to-night. You do nothing but moralise or else talk about money. To you, poverty is the greatest misfortune that can befall a man, but I think it is a thousand times easier to go begging in rags than to-You wouldn't understand that, though.SORIN leaning on a cane, and TREPLIEFF come in.SORIN. For some reason, my boy, country life doesn't suit me, and I am sure I shall never get used to it. Last night I went to bed at ten and woke at nine this morning, feeling as if, from oversleep, my brain had stuck to my skull. [Laughing] And yet I accidentally dropped off to sleep again after dinner, and feel utterly done up at this moment. It is like a nightmare.TREPLIEFF. There is no doubt that you should live in town. [He catches sight of MASHA and MEDVIEDENKO] You shall be called when the play begins, my friends, but you must not stay here now. Go away, please.
The stunning new Buckingham novel from Sunday Times bestselling author Anton Du Beke. September 1940. As the skies split apart and bombs rain down on London, it's all the staff at the famed Buckingham Hotel can do to keep their guests in the luxury they're accustomed to, and evoke the magic of the Grand ballroom for them each night. Home on leave and still reeling from the tragic events at Dunkirk, the dashing Raymond de Guise struggles to define his role in this new world, and to do his duty both to his country, and his beloved wife Nancy- who needs him now more than ever. With profiteers skulking the London streets, and devious rivals plotting the Buckingham's downfall, the hotel staff must all hold onto what matters most- and decide where their loyalties truly lie. As the bombing intensifies and Christmas fast approaches, somehow the show must go on...
ISTJs can be intimidating with their serious and formal appearance; they value the traditional way of doing things and work hard on everything they do. In this book you will find seven short stories specially selected to please the tastes of the ISTJ. These are stories by renowned authors that will surely bring reflections, insights and fun to people with this kind of personality. This book contains: - The Voyage by Katherine Mansfield. - A Society by Virginia Woolf. - Meditations: Book Two by Marcus Aurelius. - A Mystery of Heroism by Stephen Crane. - The Kiss by Guy de Maupassant. - A Simple Soul by Gustave Flaubert. - My Life by Anton Chekhov.For more books that will suit you, be sure to check out our Two Classic Novels your Myers-Briggs Type Will Love collection! *** Cover image: George Washington (1732 1799) was an American political leader, military general, statesman, Founding Father and ISTJ.
The new edition of Calculus continues to bring together the best of both new and traditional curricula in an effort to meet the needs of even more instructors teaching calculus. The author team's extensive experience teaching from both traditional and innovative books and their expertise in developing innovative problems put them in an unique position to make this new curriculum meaningful for those going into mathematics and those going into the sciences and engineering. This new text exhibits the same strengths from earlier editions including an emphasis on modeling and a flexible approach to technology.
Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. 1st World Library-Literary Society is a non-profit educational organization. Visit us online at www.1stWorldLibrary.ORG The author is well aware that whosoever discusses historical mysteries pleases the public best by being quite sure, and offering a definite and certain solution. Unluckily Science forbids, and conscience is on the same side. We verily do not know how the false Pucelle arrived at her success with the family of the true Maid; we do not know, or pretend to know, who killed Sir Edmund Berry Godfrey; or how Amy Robsart came by her death; or why the Valet was so important a prisoner. It is only possible to restate the cases, and remove, if we may, the errors and confusions which beset the problems. Such a tiny point as the year of Amy Robsart's marriage is stated variously by our historians. To ascertain the truth gave the author half a day's work, and, at last, he would have voted for the wrong year, had he not been aided by the superior acuteness of his friend, Mr. Hay Fleming. He feels morally certain that, in trying to set historians right about Amy Robsart, he must have committed some conspicuous blunders; these always attend such enterprises of rectification.
Die skrywer is ‘n normale Suid- Afrikaanse vader en eggenoot met ‘n beroep wat hy nie met sy gesin gedeel het nie. Van kind, na soldaat, na boer, na sakeman, na Polisie beampte. Hy begin die verhaal by sy kindsbeen dae waartydens ons nie altyd weet hoekom en waarom dinge so gebeur nie. Die gebeure hierin vervat beskryf dit. “Draaipunt” neem jou op ‘n bospaatjie waarlangs jy die sal begryp. Dit leer en berei jou voor vir besluite wat jy sal moet maak tydens jou seevaart wat soms lei tot stormagtige waters. Gedurende die 40ste jaar van sy lewe het God hom stilgemaak om vir hom te sê wat in Deut. 8: 2-3. staan.”v2 “En jy moet dink aan die hele pad waarlangs die Here jou God jou nou veertig jaar lank in die woestyn gelei het tot jou verootmoediging en beproewing, om te weet wat in jou hart is, of jy sy gebooie sal hou of nie. v3 En Hy het jou verootmoedig en jou laat honger ly en jou die manna laat eet wat jy en jou vaders nie geken het nie, om aan jou bekend te maak dat die mens nie van brood alleen lewe nie, maar dat die mens lewe van alles wat uit die mond van die Here uitgaan.” Ook vandag mag u voel u gaan deur waters, God is by u, of deur riviere - hulle sal u nie oorstroom nie; as u deur vuur gaan, sal u nie skroei nie, en die vlam sal u nie brand nie. Wees nie bevrees nie, God maak iets nuut, u sal dit dalk nie merk nie. Ja, God maak 'n pad in die woestyn, riviere in die wildernis om sy volk (u en ek), Sy uitverkorene, te laat drink. Die natuur en ek en u sal God eer, ons sal Sy lof verkondig. Elke boodskap hierby aangeheg, is van God, aan my oorgedra, en ek deel dit graag met u. Die skrywer wil getuig en met u deel dat gedurende die tyd het hy met God ontmoet en ook homself leer ken. Hy beskryf dit as swaar tye maar sy beste tye met God. God is so Goed: God vra soms van ons die aardse dinge, die eindige dinge en gee ons die Hemelse-ewige in die plek daarvan. God eis sekere dinge van ons op, maar dan oorlaai Hy ons weer met Sy allerrykste seëninge. Nooit maar nooit het God eenkant gestaan en kyk hoe donkerte om hom toesak nie. Hy is sy Lig, dit het hy aan die Here se genade te danke. Wanneer ons oor God of met God wil praat, Hy sal ons leer wat om te sê, ook vandag sal Hy ons sterkte skenk. Rom.10:13. - Want: Elkeen wat die Naam van die Here aanroep, sal gered word. Om dissipel van Jesus te wees moet ons sterf, ons kruis opneem en agter Jesus aangaan. Volgens Heb.12 word ons gereken egte kinders van God te wees. God toets ons harte, nederigheid, vriendelikheid en al die vrugte van die Gees, sal ons deel word as ons in die Lig bly. Lees Rom 12: 9-21. Oorwin die kwaad. Die is 'n saak tussen jou en die Here. Dit gaan nie daarom om mense te plesier nie, maar om God te behaag. By skuldbelydenis ervaar jy die liefdevolle troos van die Vader. Dit is so maklik om kwaad met kwaad te vergeld, maar die Heilige Gees sê aan ons wat die Vader van ons verwag: God se tyd is die regte tyd. Die manuskrip is: *‘n belofte gestand gedoen, *die waarheid kom tot die lig, *die ware verhaal kan mense help in nood ongeag wat hul omstandighede is, *die ontdekkings is ongelooflik en U sal dit wil deel met ander. Die hart van die verhaal is waar die skrywer gekonfronteer word, maar geweier het om ‘n korrupte Polisie man te wees, nie sonder ‘n prys nie – Sy lewe!
From the Preface: The argument of this book ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level of the argument. But fortunately this does not really matter. The principal ideas of the book can be understood even if the reader follows only one of the many lines of the discussion. The other aspects merely add stereoscopic depth to the argument, but not really new substance. May I, then, ask the reader not to be irritated by the obscurity of some of the material, to take out from the book what appeals to him and leave the rest unread? In a way this kind of reading needs what I will call a syncretistic approach. Children can listen breathlessly to a tale of which they understand only little. In the words of William James they take 'flying leaps' over long stretches that elude their understanding and fasten on the few points that appeal to them. They are still able to profit from this incomplete understanding. This ability of understanding- and it is an ability may be due to their syncretistic capacity to comprehend a total structure rather than analysing single elements. Child art too goes for the total structure without bothering about analytic details. I myself seem to have preserved some of this ability. This enables me to read technical books with some profit even if I am not conversant with some of the technical terms. A reader who cannot take 'flying leaps' over portions of technical information which he cannot understand will become of necessity a rather narrow specialist. It is an advantage therefore to retain some of the child's syncretistic ability, in order to escape excessive specialization. This book is certainly not for the man who can digest his information only within a well-defined range of technical terms. A publisher's reader once objected to my lack of focus. What he meant was that the argument had a tendency to jump from high psychological theory to highly practical recipes for art teaching and the like; scientific jargon mixed with mundane everyday language. This kind of treatment may well appear chaotic to an orderly mind. Yet I feel quite unrepentant. I realize that the apparently chaotic and scattered structure of my writing fits the subject matter of this book, which deals with the deceptive chaos in art's vast substructure. There is a 'hidden order' in this chaos which only a properly attuned reader or art lover can grasp. All artistic structure is essentially 'polyphonic'; it evolves not in a single line of thought, but in several superimposed strands at once. Hence creativity requires a diffuse, scattered kind of attention that contradicts our normal logical habits of thinking. Is it too high a claim to say that the polyphonic argument of my book must be read with this creative type of attention? I do not think that a reader who wants to proceed on a single track will understand the complexity of art and creativity in general anyway. So why bother about him? Even the most persuasive and logical argument cannot make up for his lack of sensitivity. On the other hand I have reason to hope that a reader who is attuned to the hidden substructure of art will find no difficulty in following the diffuse and scattered structure of my exposition. There is of course an intrinsic order in the progress of the book. Like most thinking on depth-psychology it proceeds from the conscious surface to the deeper levels of the unconscious. The first chapters deal with familiar technical and professional problems of the artist. Gradually aspects move into view that defy this kind of rational analysis. For instance the plastic effects of painting (pictorial space) which are familiar to every artist and art lover tum out to be determined by deeply unconscious perceptions. They ultimately evade all conscious control. In this way a profound conflict between conscious and unconscious (spontaneous) control comes forward. The conflict proves to be akin to the conflict of single-track thought and 'polyphonic' scattered attention which I have described. Conscious thought is sharply focused and highly differentiated in its elements; the deeper we penetrate into low-level imagery and phantasy the more the single track divides and branches into unlimited directions so that in the end its structure appears chaotic. The creative thinker is capabte of alternating between differentiated and undifferentiated modes of thinking, harnessing them together to give him service for solving very definite tasks. The uncreative psychotic succumbs to the tension between conscious (differentiated) and unconscious (undifferentiated) modes of mental functioning. As he cannot integrate their divergent functions, true chaos ensues. The unconscious functions overcome and fragment the conscious surface sensibilities and tear reason into shreds. Modern art displays this attack of unreason on reason quite openly. Yet owing to the powers of the creative mind real disaster is averted. Reason may seem to be cast aside for a moment. Modern art seems truly chaotic. But as time passes by the 'hidden order' in art's substructure (the work of unconscious form creation) rises to the surface. The modern artist may attack his own reason and single-track thought; but a new order is already in the making. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1971. From the Preface: The argument of this book ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level
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