Sheila Stewart is the last in the line of the Stewarts o' Blair, a travelling family who have made a unique contribution to the musical and oral traditions of Scotland. Her mother was the legendary 'Queen amang the Heather', the singer and storyteller Belle Stewart, and her father, Willie Stewart, was a noted piper. Sheila spent her childhood wandering with them all over Scotland, working on farms and experiencing all the highs and lows of the traveller lifestyle. From 1954 she sang in concerts with her parents and her sister Cathie, and they became stars of the folk scene. An acclaimed storyteller and ballad singer, she is in huge demand and has continued to perform up to the present day. This, her long-awaited autobiography, is graphic in its depiction of the sometimes harrowing circumstances of her life, but is also a tribute to the rich and dramatic tradition of which she is one of the last representatives.
This book offers a new approach to the history of Greek portraiture by focusing on portraits without names. Comprehensively illustrated, it brings together a wide range of evidence that has never before been studied as a group. Sheila Dillon considers the few original bronze and marble portrait statues preserved from the Classical and Hellenistic periods together with the large number of Greek portraits known only through Roman 'copies'. In focusing on a series of images that have previously been ignored, Dillon investigates the range of strategies and modes utilized in these portraits to construct their subject's identity. Her methods undermine two basic tenets of Greek portraiture: first, that is was only in the late Hellenistic period, under Roman influence, that Greek portraits exhibited a wide range of styles, including descriptive realism; and second, that in most cases, one can easily tell a subject's public role - that is, whether he is a philosopher of an orator - from the visual traits used in this portrait. The sculptures studied here instead show that the proliferation of portrait styles takes place much earlier, in the late Classical period; and that the identity encoded in these portraits is much more complex and layered than has previously been realized. Despite the fact that these portraits lack the one feature most prized by scholars of ancient portraiture - a name - they are evidence of utmost importance for the history of Greek portraiture.
Yes, boys are different, no matter what we've learned in the past about raising the "unisex" child. Boys develop differently than girls and why; male aggressiveness originates and where; order and direction can be painlessly established in your young son's life; working moms and their little boys can have a good relationship; traumas like divorce affect boys differently; your son will respond to love and discipline and much more.
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