Book One. Delcinas Tears. describes the long painful years of slavery. the total lack of education and the isolation of eighteen years without ever seeing the outside of that reformatory. It describes living, sleeping, eating and working in the same rooms with her mother but neither one knowing their relationship to each other. Her Crime? Being born At age eighteen she escaped this wretched entombment by leaping from an unbarred second story window. Book Two, Beyond the Walls, follows Georgina through the houses of prostitution, the jails, and the streets of the real Canada of the nineteen fifties. It includes the illicit sexual attentions of the child sexual abuser of her childhood. He became the barrier of her adult attempts to live normally in a world that was anything but normal. Her lack of education. her inability to understand the outside world set her up for failure as a psychiatrist explained it to her later Book Three. Rehearsals in Madness, takes her to Toronto in hopes of finding a better life away from New Brunswick where it all began. In the summer Georgina lives and writes at the lake in Canada relishing the healing solitude of the woods and the night songs of loons. For six months of the year she camps and writes her stories in the Sonoran desert of Southern Arizona.
This book examines the pictorial representation of women in Great Britain both before and during the First World War. It focuses in particular on imagery related to suffrage movements, recruitment campaigns connected to the war, advertising, and Modernist art movements including Vorticism. This investigation not only considers the image as a whole, but also assesses tropes and constructs as objects contained within, both literal and metaphorical. In this way visual genealogical threads including the female figure as an ideal and William Hogarth’s 'line of beauty' are explored, and their legacies assessed and followed through into the twenty-first century. Georgina Williams contributes to debates surrounding the deliberate and inadvertent dismissal of women’s roles throughout history, through literature and imagery. This book also considers how absence of a pictorial manifestation of the female form in visual culture can be as important as her presence.
Propaganda and Hogarth’s ‘Line of Beauty’ in the First World War assesses the literal and metaphoric connotations of movement in William Hogarth’s eighteenth-century theory of a ‘line of beauty’, and subsequently employs it as a mechanism by which the visual propaganda of this era can be innovatively explored. Hogarth’s belief that this line epitomises not only movement, but movement at its most beautiful, creates conditions of possibility whereby the construct can be elevated from traditional analyses and consequently utilised to examine movement in artworks from both literal and metaphorical perspectives. Propagandist promotion of an alternate reality as a challenge to a current ‘real’ lends itself to these dual viewpoints; the early years of the twentieth century saw growth in the advertising of conflict via the pictorial poster, instigating intentionally or otherwise an aesthetic response from soldier-artists embroiled on the battlefields. The ‘line of beauty’ therefore serves as a productive mechanism by which this era of propaganda art can be appraised.
Troubles in Toronto "Rehearsals in Madness," Book Three, follows "Beyond the Walls" and "Delcina's Tears." "Rehearsals" tells the story of Georgina's four years in Toronto, Ontario, Canada. Expecting a new life she fled New Brunswick with her pimp (Beyond the Walls). She still suffered the effects of long-term childhood institutional violence. She spiraled downward into a life of slum-despair, jail and suicide attempts. Surrounded by alcoholism, prostitution and crime she wanders through a landscape of forlorn wreckage and the debris of other discarded lives. Faint beacons of understanding and sanity from accidental encounters cast illumination into the almost inpenetratable darkness of her sordid and desperate life. "Beyond the Walls" narrates the times of desperation, a direct result of eighteen years of systemic "Institutional" violence. "Delcina's Tears" begins the narrative with the rape of a twelve year old Native girl, Delcina. It is the true story of physical, sexual, emotional and spiritual abuse and forced slave labour of two children (Delcina and her daughter, Georgina) which also represents the lives of countless thousands of children in other institutions in Canada all of which were within the jurisdiction of the Federal Government of Canada and a religious order of some type.
This is the casebook of the world's only officially recognized UFO encounter that took place in the UK in December 1980. Previous accounts of the Rendlesham Forest incident have been flawed: people with axes to grind and little access to primary sources and discreditable single eyewitness accounts. Georgina Bruni has had access to police, Ministry of Defence and US military sources and her casebook reveals fresh information on the incident and the possible alien encounter that ensued. It includes interviews with those involved as well as other never-before-reported incidents in the area. The casebook also reveals details of the aftermath and the harsh treatment meted out to those who wavered from the "don't ask, don't tell" line of officialdom. 'While twenty years have passed, she brings new light to this story that just won't go away...' Major General Gordon E. Williams, USAF (Retired)
The Majesty of the People links emerging Romantic ideas about the role of the writer to the ambivalence of the concept of popular sovereignty. By closely examining how theories about the role of the intellectual or the writer are developed as part of the 1790s' contestation of the concept of the majesty of the people, Georgina Green provides a coherent account of debates about popular sovereignty, and contributes to understanding of authorship and the rise of 'culture' in this period. Part one, 'the political existence of the people', shows how the history of ideas about the political role of the people in the eighteenth century meant there was a role for writers and organisations who could challenge the invisibility of the 'people out of doors'. Part two, 'the sovereignty of justice' shows how this urge to give the people a tangible form was moderated by the tension between the sovereignty of will and the sovereignty of justice, a tension foregrounded by Revolutionary France and addressed in the writing of Thomas Paine, Helen Maria Williams, and William Godwin. Part three analyses how this potential tension between popular sovereignty and absolute values such as reason, justice or divinity pressurizes Wordsworth and Coleridge's conception of their role as writers. These enquiries demonstrate the impact of the idea of the Majesty of the People in the 1790s and in emerging conceptions of the role of culture in society.
This unique volume provides a detailed analysis of Australia’s 300 war crimes trials of principally Japanese accused conducted in the immediate aftermath of the Second World War. Part I contains contextual essays explaining why Australia established military courts to conduct these trials and thematic essays considering various legal issues in, and historical perspectives on, the trials. Part II offers a comprehensive collection of eight location essays, one each for the physical locations where the trials were held. In Part III post-trial issues are reviewed, such as the operation of compounds for war criminals; the repatriation of convicted Japanese war criminals to serve the remainder of their sentences; and reflections of some of those convicted on their experience of the trials. In the final essay, a contemporary reflection on the fairness of the trials is provided, not on the basis of a twenty-first century critique of contemporary minimum standards of fair trial expected in the prosecution of war crimes, but by reviewing approaches taken in the trials themselves as well as from reactions to the trials by those associated with them. The essays are supported by a large collection of unique historical photographs, maps and statistical materials. There has been no systematic and comprehensive analysis of these trials so far, which has meant that they are virtually precluded from consideration as judicial precedent. This volume fills that gap, and offers scholars and practitioners an important and groundbreaking resource.
On 17 March 1967, the 26-year-old David Sainsbury wrote out a cheque for £5 and established the trust which would become the Gatsby Charitable Foundation. Gatsby's purpose was ambitious: to make the world a better place by taking on some of the social, economic and scientific challenges that face humanity. In recent years, Gatsby has spent around £50m annually on charitable activities, and by its 50th anniversary in 2017 it will have spent over £1bn on programmes that range from reducing poverty in Africa to raising the standard of technical education, investigating how plants fight disease, and finding out how the brain works. But despite Gatsby's wide reach and the level of its donations, it has always functioned discreetly and out of the public eye. Georgina Ferry's in-depth account reveals its achievements and invites us to question how the super-rich - and even the moderately affluent - might spend their money more wisely and for the common good.
Propaganda and Hogarth’s ‘Line of Beauty’ in the First World War assesses the literal and metaphoric connotations of movement in William Hogarth’s eighteenth-century theory of a ‘line of beauty’, and subsequently employs it as a mechanism by which the visual propaganda of this era can be innovatively explored. Hogarth’s belief that this line epitomises not only movement, but movement at its most beautiful, creates conditions of possibility whereby the construct can be elevated from traditional analyses and consequently utilised to examine movement in artworks from both literal and metaphorical perspectives. Propagandist promotion of an alternate reality as a challenge to a current ‘real’ lends itself to these dual viewpoints; the early years of the twentieth century saw growth in the advertising of conflict via the pictorial poster, instigating intentionally or otherwise an aesthetic response from soldier-artists embroiled on the battlefields. The ‘line of beauty’ therefore serves as a productive mechanism by which this era of propaganda art can be appraised.
This book examines the pictorial representation of women in Great Britain both before and during the First World War. It focuses in particular on imagery related to suffrage movements, recruitment campaigns connected to the war, advertising, and Modernist art movements including Vorticism. This investigation not only considers the image as a whole, but also assesses tropes and constructs as objects contained within, both literal and metaphorical. In this way visual genealogical threads including the female figure as an ideal and William Hogarth’s 'line of beauty' are explored, and their legacies assessed and followed through into the twenty-first century. Georgina Williams contributes to debates surrounding the deliberate and inadvertent dismissal of women’s roles throughout history, through literature and imagery. This book also considers how absence of a pictorial manifestation of the female form in visual culture can be as important as her presence.
Taking an interprofessional focus to reflect modern practice, this book introduces the complexity of balancing rights and risks. It helps readers to understand and evaluate their own values, knowledge and power in order to provide safer, more effective care for those they work with, including vulnerable adults and children.
Analyzes the rise and fall of the Red de Trueque (launched in 1995 by a group of environmentalists who exchanged goods and services at their own 'market' using a system of mutual credit) in Argentina. This book identifies rules of governance and sustainability for institutional settings in which state regulation is minimal.
TEXAS TOMBOY When feisty Dallas Durango couldn't bear the stuffy Boston girls' school a minute longer, she fled as far West as her money would take her: to St. Joe, Missouri. There the runaway heiress discovered that women earned mere pennies and, dressing herself as a boy, signed on with the Pony Express. But what the defiant female never counted on was meeting horse breeder Quint Randolph, whose glance made her want to shuck her disguise. . .and whose touch made her want to beg for more! KENTUCKY GENT Feeling guilty over his wife's death the year before, handsome Quint Randolph had sworn off women and now pursued only stallions that could improve his thoroughbreds. But when he first gazed at the tall, slender Pony Express rider, he knew right away that was no lanky lad. . .and his virile body responded as never before. Hating her for making him break his vow, loving her for reawakening his desire, Quint chased her along the dangerous strail, intent on making her share his bedroll during the long, hot Nevada Nights.
In this Banff history book, Eleanor Luxton, the daughter of one of Banff’s pioneers, presents us with a labour of love – a comprehensive history of Banff National Park from its geological birth, through its exploration and settlement, to its growth as Canada’s first National Park. This story of Rocky Mountains Park is a sensitive portrayal of the natural and human history of the Banff area, weaving together the romantic adventure of the earliest exploration and settlement with the realities of World Wars, depressions, and government influences. It will most surely command rapt attention from both the casual reader and the historian. Publisher's note: Written in 1975 as an historical account and reprinted in 2008, Banff: Canada’s First National Park has itself become a piece of the park’s history. Respecting this significance, we have strived to replicate the original book by re-creating the original cover, leaving the text as it appeared in 1975 (complete with references to places that no longer exist, such as the Buffalo Paddock), and including photographs from Luxton’s private collection.
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