This is about a spiritual poetic journey of lifes hard-knock detours, which explodes gifts after near-death experiences. The awakened human, being the poet within all of us, releases the response that enable heroes in families and neighbors to inspire an Eweniverse, where human beings are helping to build a sacred village earth.
This is about a spiritual poetic journey of lifes hard-knock detours, which explodes gifts after near-death experiences. The awakened human, being the poet within all of us, releases the response that enable heroes in families and neighbors to inspire an Eweniverse, where human beings are helping to build a sacred village earth.
It is the early fall of 1755 in the backcountry of Virginia. The British army has suffered a stunning defeat at the hands of the French and their Indian allies in the opening battle of the French and Indian War, leaving the frontier in flames and open to attacks from the enemy. William Kay, a young minister well-known to the colonial establishment for his years long stand against a powerful planter and vestryman bent on revenge, is murdered. Three of Kay’s slaves are accused and swiftly condemned to the brutal form of justice reserved for the enslaved, while another man who had threatened Kay’s life disappears from the scene. When the colonial governor and officials aligned with him suppress the news of the unprecedented crime and the court record of the slave trial, the killing of Reverend Kay becomes lost to history––until now.
The time for new approaches to White’s work is overdue. Central to the present study are Edward Said’s ideas about the role of the intellectual (and the writer) – of speaking “truth to power,” and also the importance of tracing the “affiliations” of a text and its embeddedness in the world. This approach is not incompatible with Jung’s theory of the ‘great’ artist and his capacity to answer the deep-seated psychic needs of his people. White’s work has contributed in many different ways to the writing of the nation. The spiritual needs of a young nation such as Australia must also comprehend its continual urge towards self-definition. Explored here is one important aspect of that challenge: white Australia’s dealings with the indigenous people of the land, tracing the significance of the Aboriginal presence in three texts selected from the oeuvre of Patrick White: Voss (1957), Riders in the Chariot (1961), and A Fringe of Leaves (1976). Each of these texts interrogates European culture’s denigration of the non-European Other as embedded in the discourse of orientalism. One central merit of White’s commanding perspective is the constant close attention he pays to European hubris and to the paramount autonomy of indigenous culture. There is evidence even of a project which can be articulated as a search for the possibility of white indigeneity, the potential for the white settler’s belonging within the land as does the indigene.
The Rhythm of Space and the Sound of Time examines the place of Chekhov's Technique in contemporary acting pedagogy and practice. Cynthia Ashperger answers the questions: What are the reasons behind the technique's current resurgence? How has this cohesive and holistic training been brought into today's mainstream acting training? What separates this technique from the other currently popular methods? Ashperger offers an analysis of the complex philosophical influences that shaped Chekhov's ideas about this psycho-physical approach to acting. Chekhov's five guiding principles are introduced to demonstrate how eastern ideas and practices have been integrated into this western technique and how they have continued to develop on both theoretical and practical levels in contemporary pedagogy, thereby rendering it intercultural. The volume also focuses on the work of several contemporary teachers of the technique associated with Michael Chekhov International Association (MICHA). Current teacher training is described as well as the different modes of hybridization of Chekhov's technique with other current methods. Contemporary practical experiments and some fifty exercises at both beginner and intermediate/advanced levels are presented through analysis, examples, student journals and case studies, delineating the sequences in which units are taught and specifying the exercises that differ from those in Chekhov's original writing. This book is for practitioners as well as students of the theatre.
This chatty biography, written with the cooperation of the late actor's family, is crammed with anecdotes, personal opinions, and warm humor," said our reviewer (LJ 2/15/76) of this portrait of the horror star, who played every baddie from Frankenstein's monster to Dr. Seuss's Grinch. The text is buttressed with 150 photos and a complete filmography. This should still be "popular in public library collections." Copyright 1995 Reed Business Information, Inc.
During the Second World War, more than 4,000 civilian nurses enlisted as Nursing Sisters, a specially created all-female officers' rank of the Canadian Armed Forces. They served in all three armed force branches and all the major theatres of war, yet nursing as a form of war work has long been under-explored. An Officer and a Lady fills that gap. Cynthia Toman analyzes how gender, war, and medical technology intersected to create a legitimate role for women in the masculine environment of the military and explores the incongruous expectations placed on military nurses as "officers and ladies.
This book enables parents and children to spend more quality time together. It includes holiday projects, educational games, activities to stretch the imagination.
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