We Love Food is a family cookbook interspersed with detailed descriptions and beautiful photography on how to grow your own vegetables and herbs. Peta Heine has been involved with the kitchen garden movement in Australia for many years. Kirsty lives in an old chestnut grove in the Macedon Ranges, Victoria.
Throughout the 19th century animals were integrated into staged scenarios of confrontation, ranging from lion acts in small cages to large-scale re-enactments of war.
Anita Brookner was known for writing boring books about lonely, single women. Misreading Anita Brookner unlocks the mysteries of the Brookner heroine by creating entirely new ways to read six Brookner novels. Drawing on diverse intertextual sources, Peta Mayer illustrates how Brookner's solitary twentieth-century women can also be seen as variations of queer nineteenth-century male artist archetypes.
In Performing Emotions, Peta Tait's central argument is that performing emotions in realism is also performing gender identity. This study integrates scholarship on realist drama, theatre and approaches to acting, with interdisciplinary theories of emotion, phenomenology and gender theory. With chapters devoted to masculinity and femininity specifically, as well as to emotions generally, it investigates social beliefs about emotions through Chekhov's four major plays in translation, and English language commentaries on Constantin Stanislavski's direction (of the play's first productions) and his approaches to acting, and Olga Knipper's acting of the central women characters. Tait demonstrates how theatrical emotions are predicated on embodied social performances and create cultural spaces of emotions. Performing Emotions investigates how sexual difference impacts on the representations of emotions. The book develops an accumulative analysis of the meanings of emotions in twentieth century realist drama, theatre and acting.
This work is a meditation on the shaping of time and its impact on living with and understanding atrocity in South Africa in the wake of the Truth and Reconciliation Commission (TRC). It is an examination of the ways that the institutionalization of memory has managed perceptions of time and "transition," of events and happenings, of sense and emotion, of violence and recovery, of the "past" and the "new." Through this process a public language of "memory" has been carved into collective modes of meaning. It is a language that seems deprived of the hopes, dreams, and possibilities for the promise of a just and redemptive future it once nurtured. Truth commissions are profoundly implicated in the social politics of memorialization. Memory, as a conceptual, historical, and experiential discourse about "the past," relates to the ways in which cruelty is integrated into societal understandings, which include cognitive and philosophic frameworks and constructions of social meaning. The politics of historical truth, of memory and of justice, play out in unintended ways. There is not only the ongoing struggle for survivors of state terror, but also the ways that the everyday shapings of silences, the emptiness of reconciliation and the fracturing of hope remain embedded in political life.
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