To prepare for the role of the Joker, Heath Ledger locked himself in a London hotel room, trying to understand and become a character he saw as “an absolute sociopath, a cold-blooded, mass-murdering clown” who was not intimidated by anything and found all of life “a big joke.” In the end, Ledger’s obsession with his role contributed to his own death from drugs before The Dark Knight was released. The connections and irony are too close to ignore. The movie gives the world a curious twist on the roles of Batman and the Joker. It’s politically incorrect, and yet emotionally the Joker’s insanity becomes more endearing than Batman’s noble sacrifice. What is it? Why does this psychopath seem to have a sense of higher truths in his insanity? This is the role of the Joker or the Fool, a standard character in theatre, and a role consciously adopted by serious artists since the late 1800s. Just as Shakespeare’s Fool in King Lear used his riddles and puns and satire to reveal the truths the royal leaders of his world could not or refused to see, today’s artists are both revealing the darkness within the culture and offering a way out. Waiting for Godot has been proclaimed the greatest play of the twentieth century. But there are no great roles in it, no characters representing the equivalent of Shakespeare’s Hamlet. Rather, the two main characters are closer to T. S. Eliot’s J. Alfred Prufrock, who says he cannot be a Hamlet, only, perhaps, Hamlet’s Fool. This book explores what has happened as Europe’s culture fragmented and the world lost its center. It explores a range of different arenas, from political and social and religious happenings to scientific and artistic expressions, in order to find the centers of the human condition and how the dark expressions of meaninglessness so commonly highlighted are more rites-of-passage than the final destination.
Do I dare disturb the universe? This is a question recognized by people around the world. If typed into the internet, hundreds of examples appear. Many know that it comes from one of the best-known poems of the previous century, T. S. Eliotâs The Love Song of J. Alfred Prufrock. What many do not know is that Eliot dramatically shifted his views at the height of his fame for writing such dark poetry as this and The Waste Land, becoming a sincere, devoted Christian. While his poetry is famous because it expresses the loss of a spiritual center in European civilization, a careful reading of it reveals that he was struggling with his Christianity from the beginning, not rejecting it, but trying to make it fit into the contemporary world. If the reader works through Eliotâs love song for all of the esoteric meanings, as he demands, it quickly becomes evident that he intended it as a struggle between agape, amour and eros. Beginning it with a quote from Dante forces that into place. Though the protestant forms of Christianity have changed their views on these, the Roman Catholic holds fast. Eliot references Michelangelo in the poem, bringing in the great painter of the ceiling of the Sistine Chapel. Most immediately recognize his name and work, but do not realize how he expressed a similar personal struggle between the desires of the flesh and the spirit. Both of them admired Danteâs Divine Comedy, and its inclusion of amour as a means to salvation. Danteâs work is generally seen as the greatest literature ever to come out of Italy. This book is an expanded revision of Seeking God in the Works of T. S. Eliot and Michelangelo. It explores how T.S Eliot struggled with the highest meanings of existence in his poetry and his own life, and perhaps managed to express what has become known as a modernist (and post-modernist) view of what Rudolph Otto designated the mysterium tremendum, the experience of a mystical awe, the experience of God.
Richard Dadd is a trickster, a pre-post-modern enigma wrapped in a Shakespearean Midsummer Night’s Dream; an Elizabethan Puck living in a smothering Victorian insane asylum, foreshadowing and, in brilliant, Mad Hatter conundrums, entering the fragmented shards of today’s nightmarish oxymorons long before the artists currently trying to give them the joker’s ephemeral maps of discourse. The author thinks of Bob Dylan’s “Ballad of a Thin Man,” that cryptic refusal to reduce the warped mirrors of reality to prosaic lies, or, perhaps “All Along the Watchtower” or “Mr Tambourine Man.” Even more than Samuel Beckett’s Waiting for Godot, which curiously enough comes off as overly esoteric, too studied, too conscious, Dadd’s entire existence foreshadows the forbidden entrance into the numinous, the realization of the inexplicable labyrinths of contemporary existence, that wonderfully rich Marcel Duchamp landscape of puns and satiric paradigms, that surrealistic parallax of the brilliant gamester Salvador Dali, that smirking irony of the works of Roy Lichtenstein, Robert Rauschenberg, John Cage, and Robert Indiana; that fragmented, meta-fictional struggle of Kurt Vonnegut’s Slaughterhouse Five. John Lennon certainly sensed it and couldn’t help but push into meta-real worlds in his own lyrics. Think of “Strawberry Fields Forever,” “I Am the Walrus,” and the more self-conscious “Revolution Number 9.” In “Yer Blues,” he even refers to Dylan’s main character, Mr Jones from “Ballad of a Thin Man.” If Lennon’s song is taken seriously, literally, then it is a dark crying out by a suicidal man, “Lord, I’m lonely, wanna die”; or, if taken as a metaphor for a lover’s lost feelings about his unfulfilled love, it falls into the romantic rant of a typical blues or teenage rock-and-roll song. However, even on this level, it has an irony about it, a sense of laughing at itself and at Dylan’s Mr Jones, who knows something is going on but just not what it is, and then, by extension, all of us who have awakened to the fact that the studied Western world doesn’t make sense, all of us who struggle to find meaning in the nonsense images, characters, and happenings in the song, and perhaps, coming to a conclusion that the nonsense is the sense.
To prepare for the role of the Joker, Heath Ledger locked himself in a London hotel room, trying to understand and become a character he saw as “an absolute sociopath, a cold-blooded, mass-murdering clown” who was not intimidated by anything and found all of life “a big joke.” In the end, Ledger’s obsession with his role contributed to his own death from drugs before The Dark Knight was released. The connections and irony are too close to ignore. The movie gives the world a curious twist on the roles of Batman and the Joker. It’s politically incorrect, and yet emotionally the Joker’s insanity becomes more endearing than Batman’s noble sacrifice. What is it? Why does this psychopath seem to have a sense of higher truths in his insanity? This is the role of the Joker or the Fool, a standard character in theatre, and a role consciously adopted by serious artists since the late 1800s. Just as Shakespeare’s Fool in King Lear used his riddles and puns and satire to reveal the truths the royal leaders of his world could not or refused to see, today’s artists are both revealing the darkness within the culture and offering a way out. Waiting for Godot has been proclaimed the greatest play of the twentieth century. But there are no great roles in it, no characters representing the equivalent of Shakespeare’s Hamlet. Rather, the two main characters are closer to T. S. Eliot’s J. Alfred Prufrock, who says he cannot be a Hamlet, only, perhaps, Hamlet’s Fool. This book explores what has happened as Europe’s culture fragmented and the world lost its center. It explores a range of different arenas, from political and social and religious happenings to scientific and artistic expressions, in order to find the centers of the human condition and how the dark expressions of meaninglessness so commonly highlighted are more rites-of-passage than the final destination.
The lights dim and soon the theatre becomes dark. The audience conversations end with a few softly dissipating whispers, and the movie begins. Nina Sayers, a young ballerina, dances the prologue to Tchaikovsky’s Swan Lake, a ballet expressing a story drawn from Russian folk tales about a princess who has been turned into a White Swan and can only be turned back if a man swears eternal fidelity to her. However, this is not that ballet. This is the beginning of Black Swan, a controversial movie employing symbolism in a complex interweaving of dance and film to reveal the struggles and paradoxes of everything from a female rite-of-passage to questions about where artistic expression should demand self-sacrifice and whether such sacrifice is worth the price. The dance floor is the stage of life, the place where physical actions take on the symbolic meanings of mythology and express the deepest archetypes of the human mind. This book explores how dance gives shape to those human needs and how it reflects, and even creates, the maps of meaning and value that structure our lives. Though the volume looks at all the forms of dance, it focuses on three main categories in particular: religious, social, and artistic. Since the American Musical and subsequent Musical Videos have both reflected and influenced our current world, they receive the most space—such acclaimed performers as Fred Astaire, Gene Kelly, Judy Garland, Ricky Nelson, Elvis Presley and Michael Jackson, such important composers and lyrists as Gershwin, Rodgers-and-Hammerstein, Porter, Berlin, Webber, Bernstein, the Beatles, and the Who, and such choreographers as Graham, Balanchine, Robbins and Fosse are examined in particular detail.
Do I dare disturb the universe? It is a question recognized by people around the world. If typed into the internet, hundreds of examples appear. Many know that it comes from one of the best known poems of the twentieth century, T. S. Eliot’s The Love Song of J. Alfred Prufrock. What many do not know is that Eliot dramatically shifted his views at the height of his fame for writing such dark poetry as this and his also famous The Wasteland, becoming a sincere, devoted Christian. While his poetry is famous because it expresses the loss of a spiritual center in European civilization, a careful reading of it reveals that he was struggling with his Christianity from the beginning, not rejecting it, but trying to make it fit into the contemporary world. If a reader works through his love song for all of the esoteric meanings, as he demands, it quickly becomes evident that he intended it as a struggle between agape, amour and eros. Beginning it with a quote from Dante forces that into place. Though the protestant forms of Christianity have changed their views on these, the Roman Catholic holds fast. Eliot references Michelangelo in the poem, bringing in the great painter of the ceiling of the Sistine Chapel. Most immediately recognize his name and work. Many do not realize how he expressed a similar personal struggle between the desires of the flesh and the spirit. Both of them admired Dante’s Divine Comedy, and its inclusion of amour as a means to salvation. His work is generally seen as the greatest literature ever to come out of Italy, sometimes referred to as the epic representation of St. Thomas Aquinas’ Summa Theologica, one of the central documents establishing Catholic doctrine. This book explores how these brilliant men struggle with the highest meanings of life in their artistic expressions and perhaps manage to express what Rudolph Otto designates the mysterium tremendum, the experience of a mystical awe, what he calls the numinous or, in more common terms, the experience of God.
In his book about the discovery of the structure of DNA, James Watson wrote, “So we had lunch, telling ourselves that a structure this beautiful just had to exist.” Indeed, the quest most often asked by scientists about a scientific theory is “Is it beautiful?” Yes, beauty equals truth. Scientists know, mathematicians know. But the beauties, the truths of mathematics and science were not the truths that inspired the author as a child, and he intuitively knew that the truths he needed come from a different way of knowing, a way of knowing not of the world of logic and reason and explanation (though they have a value), but rather a way of knowing that is of the world expression, a world that enters the truths beyond the grasp of logic. That is what this book is all about. It is an exploration of the greatest minds of human existence struggling to understand the deepest truths of the human condition. This second edition updates the previous one, incorporating new publications on Van Gogh, recent discoveries in neurology, psychology, and the rapid developments in understanding DNA and biotechnology. We’ve come a long way already from that original discovery by Watson and his coauthor Francis Crick.
This is the first book to explain how the government regulates the aviation industry. Chapter 1 defines key terms and provides an overall view of the industry. Chapter 2describes the evolution of regulations and regulatory agencies. The third chapter explains how federal regulators exercise authority. Chapter 4 discusses regulatory powers in state and local governments. Chapter 5 explains how a regulation is formulated. Chapter 6 examines four categories of aviation: regulations related to airline business practices, to safety, to the environment, and to miscellaneous factors. Chapter 7 discusses ways in which major segments of the industry are actually regulated. And Chapter 8 forecasts future directions in aviation regulation.
Upon his retirement from active service as a Justice of the Supreme Court of Virginia in 2011, Justice Koontz had completed more than four decades of service to citizens of the Commonwealth of Virginia. In order to recognize that service and help preserve Justice Koontz legacy as one of the outstanding jurists in Virginia and the United States, the Salem/Roanoke County Bar Association instituted this project to collect all of Justice Koontz's published opinions, both from his tenure as a Justice of the Supreme Court and as an inaugural member of the Court of Appeals of Virginia. The fourth volume to be produced by the Opinions Project includes opinions, concurrences and dissents authored by Justice Koontz during his first years of his service as a Justice of the Supreme Court of Virginia. Also included in the volume is the published text of The Fifth Annual Austin Owen Lecture delivered by Justice Koontz at his alma mater, The T.C. Williams School of Law of the University of Richmond.
Most students who pursue a career in archaeology will find employment in cultural resource management (CRM), rather than in academia or traditional fieldwork. It is CRM, the protection and preservation of archaeological and other resources, that offers the jobs and provides the funding. Few textbooks, however, are dedicated to teaching students the techniques and practices of this field. Cultural Resources Archaeology, now brought completely up date in this second edition and replete with new case studies from the western U.S., fills in the gap. Drawing on their decades of teaching and field experience, the authors walk students through the intricacies of CRM. They clearly describe the processes of designing a project, conducting assessment, testing, doing essential mitigation work (Phases I, II, and III), and preparing reports. The book's emphasis on real-world problems and issues, use of extensive examples from around the country, and practical advice on everything from law to logistics make it an ideal teaching tool for archaeology students who dream of becoming practicing archaeologists.
Originally published in 1992, this book discusses a contemporary growth in environmental awareness, reflected in an increasing concern about the pollution caused by motor cars.The author considers the problem of congestion bringing traffic to a halt in the major cities and the increasingly controversial nature of contemporary transport planning. Professor Dimitriou provides a thorough and incisive contemporary analysis and suggests some appropriate solutions for the future.
The first single-authored comprehensive introduction to major contemporary research trends, issues, and debates on the anthropology of Latin America and the Caribbean. The text provides wide and historically informed coverage of key facets of Latin American and Caribbean societies and their cultural and historical development as well as the roles of power and inequality. Cymeme Howe, Visiting Assistant Professor of Cornell University writes, “The text moves well and builds over time, paying close attention to balancing both the Caribbean and Latin America as geographic regions, Spanish and non-Spanish speaking countries, and historical and contemporary issues in the field. I found the geographic breadth to be especially impressive.” Jeffrey W. Mantz of California State University, Stanislaus, notes that the contents “reflect the insights of an anthropologist who knows Latin America intimately and extensively.”
Numerous publications exist which examine elements of the security discipline. Few address these elements as a continuum of interrelated functions. None examine the structure of Offensive vice Defensive security in anything other than the domain of international security . This text has been written to fill this gap and to support a course in Offensive-Defensive Security, developed by Henley-Putnam University, which briefly reviews the history of the field of strategic security and its three component parts protection, intelligence, and counterterrorism as well as its two distinguishing characteristics: offensive tactics and operations combined with technological innovation. The course then moves to an in-depth assessment of related security areas that focus on defensive tactics and operations: homeland security, criminal justice, conflict and peace studies, and emergency management. While these fields may appear at first to be part of strategic security, this course and the associated text explores the critical differences and the fact that they are also critical elements of industrial, governmental, and military security. Emphasis will be placed at an introductory level both academic and professional distinctions and discuss the structures associated within these domains. The text is divided into the following key sections: Section 1: The Basics Section 2: The Environment Section 3: Security Planning and Management Section 1 provides an orientation for the reader to a common frame of reference through information provided in the following chapters. It is not intended to be a single source of all relevant information. Additionally, this text is not intended to be the exhaustive single source for all conditions. Rather, it provides a roadmap of considerations on how to reach a specific goal in an efficient and informed manner. Section 2 examines the world the security professional must inhabit, again, in a generalized manner and, likely, in a way never before considered. Elements of neurology, biology, physics, philosophy, logic, analytics, and finance are presented in a manner unique to the changing paradigm of Offensive-Defensive Security philosophy. The various chapters are labeled as terrains as the best representation of the environmental information to be discussed. Each will approach the topics in as clear a manner possible of current thinking and science within each as critical to the understanding of the total security environment; the how, why, and in what ways they will affect the world of this security paradigm. Finally, Section 3 incorporates the information of the first two sections and applies the knowledge gained to the planning and management of an integrated security plan. The objective of this section is to utilize the concepts and processes developed via international agencies such as the Project Management Institute to demonstrate how to create an integrated and manageable enterprise structure and not a one-size fits all template. As the knowledge consolidates, integration begins, that of incorporating the security entity into the enterprise as a whole be that enterprise be a business, government entity, or military operation. The only difference is the scale. This is a vital step in that the act of protection cannot interfere with the process of performing the enterprise function. In fact, it must enhance the enterprise function and assist in ensuring its success. Key Learning Points The approach and purpose of this text has been outlined. The following are the key reasons or learning points in summary. a. Define the key elements and environments within which the security plan and operational management activities must occur b. Familiarize the student with cultural, biological, financial, informational, and legal aspects necessary for the understanding of how these domains influence human behavior; the primary aspect of security planning and operations c. Familiarize the
The So-Called 'Servant of the Lord' and 'Suffering Servant' in Second Isaiah; Isaiah 40-66. A Study of the Teaching of the Second Isaiah and its Consequences
The So-Called 'Servant of the Lord' and 'Suffering Servant' in Second Isaiah; Isaiah 40-66. A Study of the Teaching of the Second Isaiah and its Consequences
Preliminary material /Harry M. Orlinsky -- Introductory Statement /Harry M. Orlinsky -- Chapter One: The Biblical Term \'Servant\' in Relation to the Lord /Harry M. Orlinsky -- Chapter Two: The So-Called \'Servant of the Lord\' Sections in Second Isaiah /Harry M. Orlinsky -- Chapter Three: The So-Called \'Suffering Servant\' and \'Vicarious Sufferer\' in Isaiah 52-53 /Harry M. Orlinsky -- Chapter Four: The Identity of the \'Servant\' in Second Isaiah /Harry M. Orlinsky -- Appendix /Harry M. Orlinsky -- Conclusions /Harry M. Orlinsky -- Bibliography /Harry M. Orlinsky -- Index of Biblical and Other References /Harry M. Orlinsky -- Index of Authors and Subjects /Harry M. Orlinsky -- Isaiah 40-66: A Study of the Teaching of the Second Isaiah and its Consequences /Norman H. Snaith -- Introduction /Norman H. Snaith -- Chapter One: Isaiah 40-55 and 60-62 /Norman H. Snaith -- Chapter Two: The Prophet of the Return /Norman H. Snaith -- Chapter Three: The Nationalist /Norman H. Snaith -- Chapter Four: The Servant of the Lord /Norman H. Snaith -- Chapter Five: Exegesis of Isaiah 40-55, 60-62 /Norman H. Snaith -- Chapter Six: Jesus the Servant of the Lord /Norman H. Snaith -- Chapter Seven: Exegesis of Chapters 56-66 /Norman H. Snaith -- Chapter Eight: Jerusalem from 538 B.C. To 397 B.C. /Norman H. Snaith -- Index of Biblical References /Norman H. Snaith.
According to the 1999 Salary Survey conducted by MCP Magazine, the average MCSE has 6.8 years of experience. The average self-employed MCSE consultant with 6 - 9 years of experience earns $85,000 - that's over $8,000 more than the average salary +bonus and benefits package of other MCSEs. There is ademand for MCSEs who can offer a variety of technical expertise and services, and this book will show readers how to create a successful consulting business. MCSE Consuling Bible walks readers through the issues to consider when making the decision to start their own consulting business and then offers key advice on each aspect of the business from deciding what services to offer, to marketing, to maintaining customer relationships.
In his book about the discovery of the structure of DNA, James Watson wrote, “So we had lunch, telling ourselves that a structure this beautiful just had to exist.” Indeed, the quest most often asked by scientists about a scientific theory is “Is it beautiful?” Yes, beauty equals truth. Scientists know, mathematicians know. But the beauties, the truths of mathematics and science were not the truths that inspired the author as a child, and he intuitively knew that the truths he needed come from a different way of knowing, a way of knowing not of the world of logic and reason and explanation (though they have a value), but rather a way of knowing that is of the world expression, a world that enters the truths beyond the grasp of logic. That is what this book is all about. It is an exploration of the greatest minds of human existence struggling to understand the deepest truths of the human condition. This second edition updates the previous one, incorporating new publications on Van Gogh, recent discoveries in neurology, psychology, and the rapid developments in understanding DNA and biotechnology. We’ve come a long way already from that original discovery by Watson and his coauthor Francis Crick.
Lila is Sanskrit for play, the play of the gods. It is the self-generating genesis of Bliss, created by Bliss for the purpose of Bliss. It is the uninhibited, impulsive sport of Brahman, the free spirit of creation that results in the spontaneous unfolding of the cosmos to be found in the eternity of each moment. It is beyond the confining locks and chains of reason, beyond the steel barred windows looking out from the cages of explanation, beyond the droning tick-tick-tick of the huge mechanical clocks of time. Come, let us enter the realm of the madman and the finely wrought threads of Clotho as they are measured out by Lachesis and cut by Atropos to create the great tapestry of life, including the intricate, intertwining designs of dementia with the trickster, the shaman, the scapegoat, the shadow, the artist and the savior. Come, let us join in the divine madness of the gods.
Do I dare disturb the universe? It is a question recognized by people around the world. If typed into the internet, hundreds of examples appear. Many know that it comes from one of the best known poems of the twentieth century, T. S. Eliot’s The Love Song of J. Alfred Prufrock. What many do not know is that Eliot dramatically shifted his views at the height of his fame for writing such dark poetry as this and his also famous The Wasteland, becoming a sincere, devoted Christian. While his poetry is famous because it expresses the loss of a spiritual center in European civilization, a careful reading of it reveals that he was struggling with his Christianity from the beginning, not rejecting it, but trying to make it fit into the contemporary world. If a reader works through his love song for all of the esoteric meanings, as he demands, it quickly becomes evident that he intended it as a struggle between agape, amour and eros. Beginning it with a quote from Dante forces that into place. Though the protestant forms of Christianity have changed their views on these, the Roman Catholic holds fast. Eliot references Michelangelo in the poem, bringing in the great painter of the ceiling of the Sistine Chapel. Most immediately recognize his name and work. Many do not realize how he expressed a similar personal struggle between the desires of the flesh and the spirit. Both of them admired Dante’s Divine Comedy, and its inclusion of amour as a means to salvation. His work is generally seen as the greatest literature ever to come out of Italy, sometimes referred to as the epic representation of St. Thomas Aquinas’ Summa Theologica, one of the central documents establishing Catholic doctrine. This book explores how these brilliant men struggle with the highest meanings of life in their artistic expressions and perhaps manage to express what Rudolph Otto designates the mysterium tremendum, the experience of a mystical awe, what he calls the numinous or, in more common terms, the experience of God.
Do I dare disturb the universe? This is a question recognized by people around the world. If typed into the internet, hundreds of examples appear. Many know that it comes from one of the best-known poems of the previous century, T. S. Eliotâs The Love Song of J. Alfred Prufrock. What many do not know is that Eliot dramatically shifted his views at the height of his fame for writing such dark poetry as this and The Waste Land, becoming a sincere, devoted Christian. While his poetry is famous because it expresses the loss of a spiritual center in European civilization, a careful reading of it reveals that he was struggling with his Christianity from the beginning, not rejecting it, but trying to make it fit into the contemporary world. If the reader works through Eliotâs love song for all of the esoteric meanings, as he demands, it quickly becomes evident that he intended it as a struggle between agape, amour and eros. Beginning it with a quote from Dante forces that into place. Though the protestant forms of Christianity have changed their views on these, the Roman Catholic holds fast. Eliot references Michelangelo in the poem, bringing in the great painter of the ceiling of the Sistine Chapel. Most immediately recognize his name and work, but do not realize how he expressed a similar personal struggle between the desires of the flesh and the spirit. Both of them admired Danteâs Divine Comedy, and its inclusion of amour as a means to salvation. Danteâs work is generally seen as the greatest literature ever to come out of Italy. This book is an expanded revision of Seeking God in the Works of T. S. Eliot and Michelangelo. It explores how T.S Eliot struggled with the highest meanings of existence in his poetry and his own life, and perhaps managed to express what has become known as a modernist (and post-modernist) view of what Rudolph Otto designated the mysterium tremendum, the experience of a mystical awe, the experience of God.
No one heard the shot. No one ever found the gun. It was Sunday, July 27, 1890. Vincent had recently finished Wheatfield with Crows, thought to be his final painting, one that he described as representing “vast fields of wheat beneath troubled skies,” one where he said in a letter he meant to send to Theo “I did not need to go out of my way to try to express cheerlessness and extreme loneliness.” The letter never got sent, but was found stuffed in his smock. That morning, as usual, he walked out into the wheat fields with his easel, brushes, tubes of color and folding stool, perhaps hoping to reach his destination before the gang of local boys and girls were up and able to tease him and throw tomatoes. Le Crau, a wide plain of ripe grain, fields of citron, yellow, tan, and ochre, spread out beneath the bright Provencal sun. It’s safe to assume he heard the cicadas singing loudly, the swiping swishes of the farmers’ scythes already cutting through the rich wheat stalks, the gusts of wind whispering through the olive branches. Driven and filled with energy for months, he had been quickly, with an assurance that overcame and perhaps even came from his doubts and struggles, putting his own dramatic visions on canvas after canvas. But today he did not go into the fields to paint, or, perhaps, in the beginning he did, perhaps in the morning that was his intention. No one will ever know. He said he brought the revolver to frighten off the crows. Possibly that was his original intention when he included it with his lunch of bread and milk. In the end it‘s probably not relevant, except for the endless attempts to analyze him, to dig into his complex psyche, at once brilliant and yet impelled to self-destruction. The Ravoux family were sitting on the terrace of their café when he returned, a bit concerned because he was late, but not overly so. When he finally appeared, his walk was more uneven than usual, and he held his hand over his stomach. “Monsieur Vincent,” Mrs. Ravoux said, “we were worried, we are glad to see you come. Has anything bad happened?” “No, but I . . .” he left his reply unfinished as he passed inside. Mr. Ravoux followed him upstairs, where he found him sitting on his bed, facing the wall. “I wanted to kill myself.” This book is a critical examination of Vincent van Gogh that offers insights into his life, his religious beliefs, his relationships with women, and, of course, his paintings. It includes discussions of his letters, and responds to many of the previous works about him, dispelling some of the myths that have no foundation and pointing out how many of the claims made about him and many of the popular beliefs that have grown up around him are at best guesswork. It explores psychological, neurological, theological, philosophical, aesthetic, and historical paradigms for comprehending his enigmatic and enticing personality.
The lights dim and soon the theatre becomes dark. The audience conversations end with a few softly dissipating whispers, and the movie begins. Nina Sayers, a young ballerina, dances the prologue to Tchaikovsky’s Swan Lake, a ballet expressing a story drawn from Russian folk tales about a princess who has been turned into a White Swan and can only be turned back if a man swears eternal fidelity to her. However, this is not that ballet. This is the beginning of Black Swan, a controversial movie employing symbolism in a complex interweaving of dance and film to reveal the struggles and paradoxes of everything from a female rite-of-passage to questions about where artistic expression should demand self-sacrifice and whether such sacrifice is worth the price. The dance floor is the stage of life, the place where physical actions take on the symbolic meanings of mythology and express the deepest archetypes of the human mind. This book explores how dance gives shape to those human needs and how it reflects, and even creates, the maps of meaning and value that structure our lives. Though the volume looks at all the forms of dance, it focuses on three main categories in particular: religious, social, and artistic. Since the American Musical and subsequent Musical Videos have both reflected and influenced our current world, they receive the most space—such acclaimed performers as Fred Astaire, Gene Kelly, Judy Garland, Ricky Nelson, Elvis Presley and Michael Jackson, such important composers and lyrists as Gershwin, Rodgers-and-Hammerstein, Porter, Berlin, Webber, Bernstein, the Beatles, and the Who, and such choreographers as Graham, Balanchine, Robbins and Fosse are examined in particular detail.
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