The dress is the last bit of femininity in our closets; it's the only item of clothing which (most) men and women don't share. Wearing a dress is a powerful way for women to express themselves--and every style conveys a different message. Inspired by the Eleanor Estes' children's classic The Hundred Dresses, Erin McKean's classic-to-be by the same title, with chic illustrations by Donna Mehalko, is a definitive look at the dresses, vintage and modern, that make an inarguable statement about the woman who wears them. Each evocatively illustrated entry identifies one of a hundred different dresses accompanied by a witty and informative look at the history of that particular style, famous wearers (if applicable), and what message, subtle or overt, is conveyed by the dress. Notes on where such a style could be observed and accessories of the wearer are also included. Featured are The Wench; The Sari; The Vreeland; The Wrap; The Austen; The Beckham; The Siren (any style, as long as it's red); The Chanel Ingenue; The Caftan; The Guinivere; The Jackie; The Slip Dress; The Biohazard (any dress dangerous to bystanders or the wearer: think Lady Gaga); and scores more. The book also includes a suggested reading list of fashion books, dresses from literature, and an index. Part style commentary, part fashion blueprint, part clever field guide, The Hundred Dresses will ensure that no woman (or man) ever underestimates the power of the dress.
This set includes Lies Young Women Believe and Lies Young Women Believe Companion Guide. In Lies Young Women Believe, Nancy DeMoss and Dannah Gresh expose 25 of the lies most commonly believed by your generation. They share real-life accounts from some of the young women they interviewed, along with honest stories about how they’ve overcome lies they believed themselves. They get down in the trenches of the battle with you. Best of all, they’ll show you how to be set free by the Truth. Through a nationwide survey and in-depth discussion groups, DeMoss and Gresh have listened carefully to the heart of your generation. And here are some things they’ve heard: -“I know God should be the only thing that satisfies, but if it could be Him and my friends, then I could be happy.” -“It seems like I have been struggling with depression forever. I always feel like I am not good enough.” - “I tell myself that I don’t really listen to the song lyrics, but once I hear a song a few times and start thinking about what they’re saying I realize that it's too late. It's already stuck in my head." -“For me, the whole wife and mom thing is overrated. It isn’t cool to want a husband and a family.” Maybe you can identify. Trying to listen to the right voices can be difficult. This book has been written by friends who will help you find the Truth. Maybe your heart is telling you that some things in your life are way off course. Certain habits and relationships have left you confused and lonely. This is not the way it’s supposed to be. In Lies Young Women Believe Companion Guide, Nancy Leigh DeMoss helps you go deeper into the truths found in Lies Young Women Believe. The Companion Guide contains questions and activities that will cause readers to think and wrestle with the truth in their search for answers to life's tough questions. The Lies Young Women Believe Companion Guide is ideal for small groups, Bible studies, classes, and individuals. Each session is made up of the following features: An overview of the chapter to be studied from Lies Young Women Believe and reminders of the lies discussed in that chapter. A daily personal study for the readers to complete during the course of the week, between youth group meetings. Each day's study includes a reading from Lies Young Women Believe and reflection questions. Questions to be discussed in youth group/small group setting.
In National Performance, Erin Hurley examines the complex relationship between performance and national identity. How do theatrical performances represent the nation in which they were created? How is Quebecois performance used to define Quebec as a nation and to cultivate a sense of 'Quebec-ness' for audiences both within and outside the province? In exploring Expo 67, the critical response to Michel Tremblay's Les Belles Soeurs, Carbone 14's image-theatre, Marco Micone's writing practices, Celine Dion's popular music, and feminist performance of the 1970s and 80s, Hurley reveals the ways in which certain performances come to be understood as 'national' while others are relegated to sub-national or outsider status. Each chapter focuses on a particular historical moment in Quebec's modern history and a genre of performance emblematic of the moment, and uses these to elaborate the nature of the national performances. Winner of the Northeast Modern Language Association's Book Prize, National Performance is sophisticated yet accessible, seeking to enlarge the parameters of what counts as 'Quebecois' performance, while providing a thorough introduction to changing discourses of nation-ness in Quebec.
In Urban Horror Erin Y. Huang theorizes the economic, cultural, and political conditions of neoliberal post-socialist China. Drawing on Marxist phenomenology, geography, and aesthetics from Engels and Merleau-Ponty to Lefebvre and Rancière, Huang traces the emergence and mediation of what she calls urban horror—a sociopolitical public affect that exceeds comprehension and provides the grounds for possible future revolutionary dissent. She shows how documentaries, blockbuster feature films, and video art from China, Hong Kong, and Taiwan made between the 1990s and the present rehearse and communicate urban horror. In these films urban horror circulates through myriad urban spaces characterized by the creation of speculative crises, shifting temporalities, and dystopic environments inhospitable to the human body. The cinematic image and the aesthetics of urban horror in neoliberal post-socialist China lay the groundwork for the future to such an extent, Huang contends, that the seeds of dissent at the heart of urban horror make it possible to imagine new forms of resistance.
Writers of creative non-fiction are often expected to be able to recreate reality, to deal with, or even access, a singular truth. But the author, like any human, is not an automaton remotely tasked with capturing a life or an event. Whether we tell stories and understand them as fiction or non-fiction, or whether we draw away from these classifications, writers craft and shape writing all writing. No experience exists on a flat plane, and recounting or interpreting events will always involve some element of artistic manipulation: every instance, exchange, discussion, event is open to multiple interpretations and can be described in many ways, all of which are potentially truthful. Writing Creative Non-Fiction: Determining the Form contains essays and original writing from novelists, poets, songwriters, musicians and academics. The book covers topics that range from explorations of the role of the author, definitions and representations of the form, self and illness, to the spectral elements of non-fiction and its role in historical narratives. The essays included in this volume address everything from memoir, biography and autobiography to a discussion of musical approaches to criticism and a non/fiction interview. The book identifies key writers including Christopher Isherwood, David Shields, B. S. Jonson, James Frey, Åsne Seierstad, John D'Agata, W. G. Sebald, Jonathan Coe, Hilary Mantel, James Kelman, Liz Lochhead and Arthur Frank and is essential reading for students, researchers and writers of creative non-fiction. Contents Notes on Contributors Pathways to Determining Form Laura Tansley and Micaela Maftei A Bulgarian Journey Kapka Kassabova At the Will of Our Stories John I MacArtney She and I: Composite Characters in Creative Non-Fiction Katie Karnehm More Lies Please: Biography and the Duty to Abandon Truth Rodge Glass Ghosts of the Real: The Spectral Memoir Helen Pleasance One doesn t have much but oneself : Christopher Isherwood s Investigation into Identity and the Manipulation of Form in The Memorial Rebecca Gordon Stewart Menna, Martha and Me: The Possibilities of Epistolary Criticism Rhiannon Marks An Introduction to Schizoanalysis : The Development of a Musical Approach to Criticism Jo Collinson Scott Eyes! Birds! Walnuts! Pennies! Erin Soros Just Words Erin Soros It is in their Nature to Change: On Mis-leading Elizabeth Reeder Index
How does a tragedy arouse pity and fear? How do music and lighting set a mood or convey an emotional tone for an audience? Why does theatre move us? Theatre & Feeling explores the idea that, for many people, theatre is a passion. It provides an intellectual framework for the range of emotional experience engendered by the theatre, establishing a base-line for further thinking and practice in this rich and emergent area of inquiry. Moving across western dramatic theory and theatre history, the book demonstrates the centrality of feeling to the theatre. Foreword by Anne Bogart.
Kean University, New Jersey's third largest institution of higher education, has a fascinating history dating back to its 1855 founding in Newark. Initially a normal school used for training the city's teachers, it has evolved into a university that offers outstanding undergraduate and graduate programs in many fields, including medical and allied health, management, speech, fine arts, liberal arts, architecture, and psychology. Teacher education programs at Kean result in the university graduating the highest number of teachers in the state. Kean also offers doctoral degrees in several areas, including educational leadership (EdD), school and clinical psychology (PsyD), physical therapy (PhD), and nursing (PhD). This photographic history features striking images from the university's archives, which span from the late 19th century to the present. Of special interest are the descriptions of the campus moving from Newark to Union and the creation of new campus sites in Ocean County, New Jersey, and Wenzhou, China.
By accessing penal history through the mediator of individual memory authors can be seen to depict the cumulative dialogue between the English common law and its cultural representations across historical time. Offering legal readings of works by authors including Thomas Hardy, Charles Brockden Brown, Charles Dickens, Samuel Richardson, George MacDonald, Charles Kingsley, Alfred Tennyson, Charlotte Bronte, Robert Browning, Henry Fielding and Sir Walter Scott; this book explores this literary phenomenon and its legal significance during the eighteenth and nineteenth centuries. In doing so it argues that the importance of precedent in Anglo-American common law creates a unique discourse of historical legitimacy that shapes both the cultural and official conceptions of criminality itself during this period. Within a Foucauldian framework, the book illustrates how the cultural memory of crime and punishment contribute to the development of formal and informal penal institutions. Key Features:*Generates a new framework for analysing the relationship between individual and cultural narratives, literary texts, and the cumulative "e;truth"e; created by the common law*Provides three case studies of adultery, child criminality, and rape testimony that demonstrate the impact of cultural narrative on legal development in the eighteenth and nineteenth centuries.*Legal readings of works by authors including Thomas Hardy, Charles Brockden Brown, Charles Dickens, Samuel Richardson, George MacDonald, Charles Kingsley, Alfred Tennyson, Charlotte Bront Robert Browning, Henry Fielding, Sir Walter Scott *Transformative readings of widely read works including Charles Brockden Brown's Wieland and Ormond, Thomas Hardy's Tess of the d'Urbervilles, Charles Kingsley's The Water-Babies, Alfred Tennyson's Idylls of the King, Charlotte Bronts Jayne Eyre, Henry Fielding's The Modern Husband and Sir Walter Scott 's Heart of Midlothian
New York Times bestselling author and popular lifestyle blogger Erin Gates shares everything you need to know about designing a beautifully stylish—yet practical and functional—family home through candid advice, inspirational ideas, and lessons learned. Loved by her readers for her chic interior designs and frank and funny revelations about life behind the scenes of her picture-perfect blog, bestselling author and designer Erin Gates presents a new book about how to live stylishly amidst the chaos of daily family life. Throughout her career designing homes for families of all kinds all over the country, Erin has always maintained that living with children and pets does not mean that you have to forego nice things. This uniquely personal and practical guide will explain how to create a home that makes you proud and reflects your own style while also being durable, safe, and comfortable for children. It focuses on the spaces families share, those that are dedicated to the kids, and the oft-forgotten retreats for parents. Erin combines honest design advice and gorgeous inspirational photographs with engaging and intimate personal essays about life lessons learned the hard way while struggling with infertility and becoming a mother, managing a business, overseeing her own home renovation, and finding time for her marriage. She’ll share how to store toys so that shared spaces don’t look like a kindergarten, the expensive-looking fabrics that will stand up to a marauding toddler with sticky hands, nursery looks that go beyond blue and pink, and furniture that does not have to be stored during the baby-proofing years. She also showcases the work of other designers she loves who surround parents, children, and their pets with comfort and beauty. Like a best friend who has a knack for style and a taste for fun, Erin opens her front door and invites you into her life and all of its beautiful imperfection.
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