Why is the seat of the rider so natural und yet so complicated? Why is it so easy to develop an incorrect seat position and influence on the horse but then so difficult to correct these problems? What is actually meant by a riders’s “fine feeling” and how can this be perceived and developed? The art of successful riding is the development of harmony to such a degree that, to the onlooker, horse and rider perform in total unity. The rider's key to this ideal is not a static seat but, one that is capable of adapting to all movements of the horse. The closer the seat follows the movement, the better it can influence that movement and remain in perfect balance with the horse. First published in 1993, Balance in Movement has long since become a classic in equestrian sports literature. This completely revised new edition has been supple¬ment by useful maxims, hints and exercise ideas as well as 200 new photos and drawings. It is in indispensable source of advice for all who would like to have a better understanding and command of the rider's seat, teachers and pupils alike.
Why is the seat of the rider so natural und yet so complicated? Why is it so easy to develop an incorrect seat position and influence on the horse but then so difficult to correct these problems? What is actually meant by a riders’s “fine feeling” and how can this be perceived and developed? The art of successful riding is the development of harmony to such a degree that, to the onlooker, horse and rider perform in total unity. The rider's key to this ideal is not a static seat but, one that is capable of adapting to all movements of the horse. The closer the seat follows the movement, the better it can influence that movement and remain in perfect balance with the horse. First published in 1993, Balance in Movement has long since become a classic in equestrian sports literature. This completely revised new edition has been supple¬ment by useful maxims, hints and exercise ideas as well as 200 new photos and drawings. It is in indispensable source of advice for all who would like to have a better understanding and command of the rider's seat, teachers and pupils alike.
Gothic forms of feminine fictions is a study of the powers of the Gothic in late twentieth-century fiction and film. Susanne Becker argues that the Gothic, two hundred years after it emerged, exhibits renewed vitality in our media age with its obsession for stimulation and excitement.
Men with assault rifles, balaclavas and Hawaiian shirts pulled over bulletproof vests. Horned warriors with painted faces and fur headdresses draped over their naked torsos. The storming of the Capitol brought together men who had previously come across one another only online in the Manosphere. These were men with a common interest, followers of a male-supremacist ideology, who rioted in order to fight for their privilege. Before then, the world had looked on as devastating attacks were carried out by incels: those who seek to gain unfettered access to women’s bodies by redrawing the hierarchy of the sexes in order to ensure the subjugation of women. For all of these men, masculinity is a political project, and the events at the Capitol were one episode in a growing movement. From the US and Canada to New Zealand, from Poland to Brazil, right-wing extremists, religious fundamentalists and male supremacists are coming together in order to translate their reactionary dreams of male domination into politics, underscoring the masculine roots of the authoritarian backlash.
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