If you could take one book with you that would be your complete guidebook to rethinking every aspect of your life, Delusion is Good would be that book. Its subtitle, "A Visionary Guide to Extraordinary Outcomes" tells you a great deal about this remarkabla amalgamation of some of the great human behavior guidelines of all time, plus some very new ways of looking at life as we see it in this exciting and challenging new Millennium. For anyone who ever wanted to tap the visionary potentals in themselves, Delusion is Good may just be the consummate sourcebook for the next couple of decades at least.
Covers all aspects of the selection, growth, and propagation of lilacs along with information on their landscape use, companion plants, and the history and origin of each lilac species.
Fife's most famous buildings include Dunfermline Abbey, with its sturdy Norman nave; St Andrews cathedral, the focus of the old University town on the North Sea coast; the foursquare post-Reformation kirk at Burntisland; the palace of Falkland, where James V became Britain's first patron of Renaissance architecture on the grand scale; and the little royal burghs along the coastal fringe, each with its harbour and its strings of vernacular houses presided over by the kirk and tollbooth. Cupar, at the centre of Fife's long peninsula, is the seat of local government and one of the most charming and prosperous of Scottish towns. Less well known are Fife's tower houses like Scotstarvit, the old seaboard castles of St Andrews and Ravenscraig, the picturesque Balgonie Castle and the thoroughly domesticated Kellie Castle. Of Fife's churches one of the most beautiful is Dairsie; and three centuries of inventive design in burial monuments come to an unexpected climax in a work by Charles Rennie Mackintosh in the MacDuff cemetery, East Wemyss.
In Microdramas, John H. Muse argues that plays shorter than twenty minutes deserve sustained attention, and that brevity should be considered a distinct mode of theatrical practice. Focusing on artists for whom brevity became both a structural principle and a tool to investigate theater itself (August Strindberg, Maurice Maeterlinck, F. T. Marinetti, Samuel Beckett, Suzan-Lori Parks, and Caryl Churchill), the book explores four episodes in the history of very short theater, all characterized by the self-conscious embrace of brevity. The story moves from the birth of the modernist microdrama in French little theaters in the 1880s, to the explicit worship of speed in Italian Futurist synthetic theater, to Samuel Beckett’s often-misunderstood short plays, and finally to a range of contemporary playwrights whose long compilations of shorts offer a new take on momentary theater. Subjecting short plays to extended scrutiny upends assumptions about brief or minimal art, and about theatrical experience. The book shows that short performances often demand greater attention from audiences than plays that unfold more predictably. Microdramas put pressure on preconceptions about which aspects of theater might be fundamental and about what might qualify as an event. In the process, they suggest answers to crucial questions about time, spectatorship, and significance.
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