This compelling biography traces Tobey Maguire's rise to Hollywood fame. The volume explains his difficult early life, which included frequent moves and absent parents, then goes on to record his start in the film industry and how he achieved superstardom in the movies. Informative sidebars, a detailed timeline, and an expansive bibliography support social studies and biography assignments.
The pioneering composer and music theorist makes his final on the totality of his work and thought in these three wide-ranging dialogues. “I was obliged to find a radical way to work ― to get at the real, at the root of the matter,” John Cage says in this trio of dialogues, completed just days before his death. This quest led him beyond the bounds of convention in all his musical, written, and visual pieces. The resulting expansion of the definition of art earned him a reputation as one of America's most influential contemporary artists. Joan Retallack's conversations with Cage explore his artistic production in its entirety. Cage's comments range from his theories of chance and indeterminate composition to his long-time collaboration with Merce Cunningham to the aesthetics of his multimedia works. In her comprehensive introduction, Retallack describes Cage’s lifelong project as “dislodging cultural authoritarianism and gridlock by inviting surprising conjunctions within carefully delimited frameworks and processes.” Consummate performer to the end, Cage delivers here just such a conjunction ― a tour de force that provides new insights into the man and a clearer view of the status of art in the twentieth century.
Chapter One Toby rested next to a fence in a strange alley, in a strange neighborhood, and in a strange area he had never seen before. Most mice by his age had learned of all the dangers that being out on a mouses own might present itself. But Toby had spent most of his learning years in a rather protected environment. Toby was already missing the beautiful garden where he was raised as an orphan. The yard was protected by a community of animals that watched out for each other and had taught him the basics of gathering food and staying warm for the winter. His home had been a hollowed pumpkin that was nestled in a large collection of flower pots filled with tall flowering plants on a patio that gave him a sense of security. But now he had received news that his long lost family could be living in a wildlife reserve field, and he desperately wanted to be reunited with his father, mother, and baby sister. If it was possible that they had escaped an attack by two vicious cats many months ago, his family might have taken refuge in this new land and Toby was determined to find them. Toby hid along the fence lines of these new yards and studied the situation before he would move to the next yard. Keep heading south, he would whisper to himself to keep up his courage. That is where the field is located. When the clouds would part, the light from the full moon would help him see the best route to take to his next destination. Suddenly, from above, Toby heard a voice. Hey ya, kid. Its okay; the coast is clear. Cross the driveway and get to the next fence. Its safe, little buddy. Toby recognized the voice of his friend from the garden, a plucky blue jay named Hawkeye. The jaunty bird had promised all the others in the yard that he would help the gray mouse journey safely to his new home. Thanks, Hawkeye, and with that Toby darted as fast as possible over to the next fence. He was coming to the end of another block of houses. The mouse had lost count by now of how many rows of alleys he had passed trying to reach this secured area of land he had heard about. Am I even close to this new field, Hawkeye? asked the exhausted little mouse. The blue jay was perched on top of a yards fence. Kid, youve only started. It will take you several days to reach this place. Youre going to have to be a little patient, advised the bird. What do ya say we try to make one more block and Ill find you a nice safe place to rest for the night? That sounds great. I need to eat, too, the weary little mouse uttered with a sigh. I am not used to all this traveling. That was true. Toby had found sanctuary in that nice private garden when he was a very young mouse in the early autumn of the year and never ventured forth beyond its tall, protective, brown cedar fence. He then had endured a long, harsh, cold winter and celebrated his first spring. But his pumpkin home was rotting and falling apart. Soon the people of the house were going to throw the decaying fruit into the trash heap. For a significant amount of time in his life, that yard had been his whole world. Toby had made close friends with a family of lizards, geckos, and even some birds. He was also inducted into the gardens military security force by an old toad, Major Hornsby, who guarded the vegetable garden. Tobys attention focused again on a signal to be given by the bird that the coast was clear to move to the next alley. Hawkeye had flown across the dimly lit street to the entrance of the next alley and was perched on a blooming Bradford pear tree branch nearby. The bird gave Toby the signal, and the little gray mouse flew like the wind across the street and into the alley along the next fence line. As Toby gradually moved his way through the grass, he came upon some garbage: soft drink cans, paper towels and, to his surprise, a large plastic bag with the smell of some type of potatoes that he recognized from the raised vegetable garden back home. Toby stopped for a moment and realized that he had thought of the garden as home and wondered if his travels would take him to a place as nice as where he had been raised. He wiggled his way through the bag and came across a large quantity of very crispy, salty potatoes that had flavorings he had never tasted before. They were delicious! The mouse ate until his little belly protruded. Look at me, Hawkeye. I am as fat as that old toad, Major Hornsby.
(Screen World). Movie fans eagerly await each year's new edition of Screen World , the definitive record of the cinema since 1949. Volume 55 provides an illustrated listing of every American and foreign film released in the United States in 2003, all documented with more than 1,000 photographs. The 2004 edition of Screen World features such notable films as Peter Jackson's The Lord of the Rings: The Return of the King , which won all 11 Academy Awards it was nominated for, including Best Picture, tying a record; Clint Eastwood's Mystic River , which won Academy Awards for Best Actor Sean Penn and Best Supporting Actor Tim Robbins; Sofia Coppola's Lost in Translation , Academy Award-winner for Best Original Screenplay; and Peter Weir's Master and Commander: The Far Side of the World . Also featured are Patty Jenkins' Monster , featuring Academy Award-winner for Best Actress Charlize Theron, and independent successes such as Gurinder Chadha's Bend It like Beckham and Tom McCarthy's The Station Agent . As always, Screen World 's outstanding features include: photographic stills and shots of the four Academy Award-winning actors as well as all acting nominees; a look at the year's most promising new screen personalities; complete filmographies cast and characters, credits, production company, date released, rating and running time; and biographical entries a priceless reference for over 2,400 living stars, including real name, school, and date and place of birth. Now featuring 16 pages of color photos!
The Explanation of Social Action is a sustained critique of the conventional understanding of what it means to "explain" something in the social sciences. It makes the strong argument that the traditional understanding involves asking questions that have no clear foundation and provoke an unnecessary tension between lay and expert vocabularies. Drawing on the history and philosophy of the social sciences, John Levi Martin exposes the root of the problem as an attempt to counterpose two radically different types of answers to the question of why someone did a certain thing: first person and third person responses. The tendency is epitomized by attempts to explain human action in "causal" terms. This "causality" has little to do with reality and instead involves the creation and validation of abstract statements that almost no social scientist would defend literally. This substitution of analysts' imaginations over actors' realities results from an intellectual history wherein social scientists began to distrust the self-understanding of actors in favor of fundamentally anti-democratic epistemologies. These were rooted most defensibly in a general understanding of an epistemic hiatus in social knowledge and least defensibly in the importation of practices of truth production from the hierarchical setting of institutions for the insane. Martin, instead of assuming that there is something fundamentally arbitrary about the cognitive schemes of actors, focuses on the nature of judgment. This implies the need for a social aesthetics, an understanding of the process whereby actors intuit intersubjectively valid qualities of complex social objects. In this thought-provoking and ambitious book, John Levi Martin argues that the most promising way forward to such a science of social aesthetics will involve a rigorous field theory.
In the shadow of his father Kirk's overpowering fame, Michael Douglas forged a career for himself and became recognised in his own right as an award-winning actor and producer. But fame has taken its toll on Michael's personal life. His struggles with sexual addiction, his treatment for alcoholism and drug dependency and the break-up of his first marriage show another side to Michael's success. In 2010, his troubled past came back to haunt him when Cameron, his eldest son, was sentenced to five years in prison for drug dealing. Yet, despite a rocky road, Michael has found happiness later in life. His marriage to Catherine Zeta Jones meant a second shot at fatherhood and gave him strength following a devastating diagnosis of advanced throat cancer at the age of 65. This is the compelling and remarkable story of a Hollywood son who waged a battle against the odds to achieve his fame and fortune, and has kept on fighting with every challenge he faces.
John Carlos Rowe, considered one of the most eminent and progressive critics of American literature, has in recent years become instrumental in shaping the path of American studies. His latest book examines literary responses to U.S. imperialism from the late eighteenth century to the 1940s. Interpreting texts by Charles Brockden Brown, Poe, Melville, John Rollin Ridge, Twain, Henry Adams, Stephen Crane, W. E. B Du Bois, John Neihardt, Nick Black Elk, and Zora Neale Hurston, Rowe argues that U.S. literature has a long tradition of responding critically or contributing to our imperialist ventures. Following in the critical footsteps of Richard Slotkin and Edward Said, Literary Culture and U.S. Imperialism is particularly innovative in taking account of the public and cultural response to imperialism. In this sense it could not be more relevant to what is happening in the scholarship, and should be vital reading for scholars and students of American literature and culture.
On March 31, 1943, the musical Oklahoma! premiered and the modern era of the Broadway musical was born. Since that time, the theatres of Broadway have staged hundreds of musicals--some more noteworthy than others, but all in their own way a part of American theatre history. With more than 750 entries, this comprehensive reference work provides information on every musical produced on Broadway since Oklahoma's 1943 debut. Each entry begins with a brief synopsis of the show, followed by a three-part history: first, the pre-Broadway story of the show, including out-of-town try-outs and Broadway previews; next, the Broadway run itself, with dates, theatres, and cast and crew, including replacements, chorus and understudies, songs, gossip, and notes on reviews and awards; and finally, post-Broadway information with a detailed list of later notable productions, along with important reviews and awards.
The Texas land grants were one of the largest public land distributions in American history. Induced by titles and estates, Spanish adventurers ventured into the frontier, followed by traders and artisans. West Texas was described as "Great Space of Land Unknown" and Spanish sovereigns wanted to fill that void. Gaining independence from Spain, Mexico launched a land grant program with contractors who recruited emigrants. After the Texas Revolution in 1835, a system of Castilian edicts and English common law came into use. Lacking hard currency, land became the coin of the realm and the Republic gave generous grants to loyal first families and veterans. Through multiple homestead programs, more than 200 million acres had been deeded by the end of the 19th century. The author has relied on close examination of special acts, charters and litigation, including many previously overlooked documents.
Isabella is a novel of its time when life was hard and intimidating, often short and frequently brutal in the cause of making many rich men even richer on both sides of the Atlantic. Even so, there were more people willing to stand up to legislate for the cause in America just as happened in Great Britain 50 years earlier to help the oppressed escape to live a better life. It is a story of love during the Civil War when unlikely people made individual efforts to play a part in overcoming slavery. The story alternates between gunrunning on the Eastern Seaboard, a rescued slave’s efforts to repay society in Boston and Canada and a wealthy young lady’s adventure up the Mississippi taking a young girl to Canada for safety and her involvement with the underground railway.
(Screen World). John Willis' Screen World has become the definitive reference for any film library. Each volume includes every significant U.S. and international film released during that year as well as complete filmographies, capsule plot summaries, cast and characters, credits, production company, month released, rating, and running time. You'll also find biographical entries a prices reference for over 2,000 living stars, including real name, school, place and date of birth. A comprehensive index makes this the finest film publication that any film lover could own.
The origins of the new conservatism -- The nation at war, 1940-1942 -- The Senate in revolt, 1943-1944 -- The new conservatism, 1945-1946 -- The new conservatism and partisan politics: the 80th Congress -- The new conservatism and the fair deal -- The new conservatism in an era of consensus -- The two conservatisms.
Hollywood movies are famous for promoting negative stereotypes of all kinds, especially against minorities, women, Southerners, and Christians. To what extent are biographical films selected for production according to certain biases, conscious or unconscious, among the Hollywood elite? An expert on the U.S. film industry gives readers brief synopses of Hollywood biopics produced and/ or released from 1912 through 1994. This survey provides the basis for discussion and analysis. Tracking these one-sided depictions over a longer period of time, the patterns of bias - and the source of the problem - become more clear. The problem appears to be that most of the people who have green-light authority in the U.S. film industry - for either the production and/or distribution of a motion picture - share a common ethnic/religious/cultural background. Thus, the stories of their own cohort and those of all other ethnic, religious and/or cultural groups (whose members seldom achieve positions of power in Hollywood) are being filtered through the cultural sensibilities of a single group. John Cones suggests that the solution could lie in increasing diversity at the highest levels in the U.S. film industry.
Since its opening in the 1920s, Chicago's North Michigan Avenue has been one of the city's most prestigious commerical corridors, lined by some of its most architecturally distinctive business, residential, and hotel buildings. Planned by Daniel Burnham in 1909, the avenue became the principal connecting link between downtown and the wealthy, residential "Gold Coast" north of the Loop. Some thirty buildings were constructed along its path in the ten-year period before the Depression, an urban expansion comparable in significance to that of Pennsylvania and Park Avenues. John W. Stamper traces the complex development of North Michigan Avenue from the 1880s to the 1920s building boom that solidified its character and economic base, describing the initiation of the planning process by private interests to its execution aided by the city's powerful condemnation and taxation proceedings. He focuses on individual buildings constructed on the avenue, including the Renaissance- and Gothic-inspired Wrigley Building, Tribune Tower, and Drake Hotel, and places them within the context of factors governing their construction—property ownership, financing, zoning laws, design theory, and advertising. Stamper compares this stylistically diverse mixture of low- and high-rise structures with earlier, rejected planning proposals, all of which had prescribed a uniformly designed, European-like avenue of continuous cornice heights, consistent facade widths, and complementary stylistic features. He analyzes the drastically different character the avenue took by 1930, with high-rise towers reaching thirty stories and beyond, in terms of the clash among economic, political, and architectural interests. His argument—that the discrepancies between the rejected plans and reality illustrate the developers' choice of economic return on their investment over aesthetic community—is extended through to the present avenue and the virtual disregard of the urban qualities proposed at its inception. Generously illustrated, with an epilogue condensing the avenue's history between the end of World War II and the present, this is an exhaustive account of an important topic in the history of modern architecture and city planning.
With A Delicate Truth, le Carré has in a sense come home. And it's a splendid homecoming . . . the novel is the most satisfying, subtle and compelling of his recent oeuvre' The Times A counter-terror operation, codenamed Wildlife, is being mounted in Britain's most precious colony, Gibraltar. Its purpose: to capture and abduct a high-value jihadist arms-buyer. So delicate is the operation that even the Minister's Private Secretary, Toby Bell, is not cleared for it. Suspecting a disastrous conspiracy, Toby attempts to forestall it, but is promptly posted overseas. Three years on, summoned by Sir Christopher Probyn, retired British diplomat, to his decaying Cornish manor house, and closely watched by Probyn's daughter Emily, Toby must choose between his conscience and his duty to the Service. If the only thing necessary for the triumph of evil is that good men do nothing, how can he keep silent? __________________ 'No other writer has charted - pitilessly for politicians but thrillingly for readers - the public and secret histories of his times, from the Second World War to the 'War on Terror'' Guardian 'The master of the modern spy novel returns . . . John le Carré was never a spy-turned-writer, he was a writer who found his canvas in espionage' Daily Mail 'A brilliant climax, with sinister deaths, casual torture, wrecked lives and shameful compromises' Observer
The early twentieth century English novelist William John Locke has suffered neglect in recent rimes, though in his day he was a bestselling author on both sides of the Atlantic. He published a long series of novels noted for their charmingly written romances, which went on to be adapted for the stage and silver screen. Locke’s books are noted for their enticing social dramas, well-drawn characters and polished prose. For the first time in publishing history, this eBook presents Locke’s complete works, with numerous illustrations, rare texts, informative introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Locke’s life and works * Concise introductions to the major texts * All 32 novels, with individual contents tables * Features rare novels appearing for the first time in digital publishing, including ‘The Shorn Lamb’ and ‘Moordius & Co.’ * Images of how the books were first published, giving your eReader a taste of the original texts * Excellent formatting of the texts * Rare story collections available in no other collection * Special chronological and alphabetical contents tables for the short stories * Easily locate the stories you want to read * Ordering of texts into chronological order and genres CONTENTS: The Novels At the Gate of Samaria (1894) The Demagogue and Lady Phayre (1895) Some Women and a Man (1896) Derelicts (1897) The White Dove (1900) The Usurper (1901) Where Love is (1903) The Morals of Marcus Ordeyne (1905) The Belovéd Vagabond (1906) Septimus (1909) Viviette (1910) Simon the Jester (1910) The Glory of Clementina Wing (1911) Idols (1911) Stella Maris (1913) The Fortunate Youth (1914) Jaffery (1915) The Wonderful Year (1916) The Red Planet (1917) The Rough Road (1918) The Mountebank (1920) The House of Baltazar (1920) The Tale of Triona (1922) Moordius & Co. (1923) The Coming of Amos (1924) The Great Pandolfo (1925) The Old Bridge (1926) The Kingdom of Theophilus (1927) Joshua’s Vision (1928) Ancestor Jorico (1929) The Town of Tombarel (1930) The Shorn Lamb (1930) The Shorter Fiction A Christmas Mystery (1910) The Joyous Adventures of Aristide Pujol (1912) Far-Away Stories (1916) Stories Near and Far (1926) The Short Stories List of Short Stories in Chronological Order List of Short Stories in Alphabetical Order
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