"In this well-illustrated work, Pauline Koner “traces the course” of her remarkable career from her days as a student of Michel Fokine in the 1920s, through further studies with Angel Cansino and the brilliantly influential Michio Ito, to a period as a dance soloist before World War II that make her reputation. After the war she entered a productive collaboration with Doris Humphrey, and then began the epochal performances with Jose Limon. She continued to perform until 1972, and her influence as a teacher and choreographer is still widely felt. Her book is an instructive and charming chronicle of this remarkable career, as well as a record of performances and interpretations that have gone far to mold modern dance into its present state of grace."

Up until the 1970s, a large proportion of Aboriginal people in Australia had some experience in institutions as part of government assimilation and protection policies. By focusing on three communities in South Australia, this book attempts to understand the consequences of this institutionalization for Aborigines and Australian society in general. Peggy Brock uses the word "ghetto" to evoke the nature of the missions in which many Aboriginal people settled for generations, as ghettos both oppress and nurture. The book shows that Aboriginal people often chose to live in the missions as part of creative strategies to ensure their own survival. This constructive and insightful study should become a central text in Aboriginal Studies and Australian history.

This book challenges a number of widespread preconceptions about Aboriginal society and its interaction with the wider non-Aboriginal society. It builds on recent scholarship that has drastically changed the view of Aboriginal women propagated by nineteenth and early twentieth century reports. These reporters unconsciously based their assessments on their knowledge of their own society; they could not conceive of women undertaking autonomous economic activity. These observations were made by men, and some women, imposing their cultural values on Aboriginal society, and dealing primarily with Aboriginal men. They were influenced by the fact that in white society political and religious power was in the hands of men; they shared the common assumption that the female roles of wife and mother carried as little power and authority in Aboriginal society as they did in western society. This collection of essays, which includes accounts ranging from traditional societies to societies reacting to decades of interaction with non-Aboriginal culture, explores the active role of women in Aboriginal cultural and religious life. It demonstrates the cultural authority possessed by women; it records the pivotal role of women as repositories of cultural knowledge and in the struggle to maintain or rebuild the means of passing on that knowledge. Women, Rites & Sites should be read by all people interested in Aboriginal-white relations, in Aboriginal culture and women's studies.

For fifty years, Peter Brook's opera, stage, and film productions have held audiences spellbound. His visionary directing has created some of the most influential productions in contemporary theater. Now at the pinnacle of his career, Brook has given us his memoir, a luminous, inspiring work in which he reflects on his artistic fortunes, his idols and teachers, his philosophical path and personal journey. In this autobiography, the man 'The New York Times' has called "the English-speaking world's most eminent director" and 'The London Times' has named "theater's living legend" reveals the myriad sources behind his lifelong passion to find the most expressive way of telling a story. Whether in India's epic "Mahabharata" or a stage adaptation of Oliver Sak's "The Man Who Mistook His Wife for a Hat," South Africa's" Woza Albert" or "The Cherry Orchard," Brook's unique blend of practicality and vision creates unforgettable experiences for audiences worldwide.

The #1 national bestseller now revised and updated with a new Epilogue. Now aged 75, Peter C. Newman at last tells the story of his stranger-than-fiction life. Try to keep up as we follow his many lives: as a pampered child in a Czech chateau; a Jewish kid in short pants being machine-gunned by Nazi fighter planes on the beach at Biarritz, en route to the last ship to escape from France in 1940; as a refugee on an Ontario farm; as an outsider on a scholarship at Upper Canada College; as a Financial Post journalist, then an author whose Renegade in Power made Canadian politics dramatic and disrespectfully exciting for the first time; as the man who revealed the secrets of the rulers of the Canadian business world in The Canadian Establishment , and other huge business success stories, including The Establishment Man , on Conrad Black; or the millionaire who turned his back on business books and tackled Canadian history ( Company of Adventurers and other triumphs), in a career where his work has dominated the bestseller lists in politics, business, history, and current affairs. In the midst of all this were his years at the Toronto Star and Maclean’s where, as editor, he took the magazine weekly – a huge accomplishment. He is still a legend there, where his columns continue to run. He knew and wrote about every prime minister from Louis St. Laurent to Paul Martin and every prominent Canadian – hero or villain – in between. Yet his most interesting character is – Peter C. Newman. Incredibly, this central figure known to millions of Canadians sees himself as a perennial outsider. In personal terms, the rich little Czech boy whose nannies never stayed talks frankly about his marriages and the women he has known before his ultimate marriage to his beloved Alvy. His enthusiasms – from jazz to the Canadian Navy, not to mention his adventures on his beloved sailboat – make for a rich portrait of an astonishingcharacter, one who never stops being controversial.

In a novel that’s part comic mystery, part political satire, and part case vignette, a psychiatrist reviews his involvement with a narcissistic national leader who has turned up dead on the consulting room couch. When Peter D. Kramer wrote about his work with psychiatric patients in books like Listening to Prozac and Should You Leave? , Joyce Carol Oates said, “To read his prose on virtually any subject is to be provoked, enthralled, illuminated.” When Kramer switched to fiction, Publishers Weekly wrote, “The depth, quality, and ambition of Kramer’s prose will surprise those expecting a superficial crossover effort.” In his new novel, Death of the Great Man , Kramer uses those literary skills to introduce readers to an unforgettable character, Henry Farber, a well-meaning psychiatrist forced into hiding when the nation’s chief executive—a narcissistic autocrat in his disastrous second term—is found dead on the consulting room couch. From an isolated bungalow, Farber sets out to clear his name while offering an intimate view of a flawed populist leader. What begins as comic mystery and political satire matures into a moving journey of self-exploration and a commentary on the fate of truth-telling in an era when lying has become a norm in public life.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Blood on the Desert Anthony Wheeler didn't want the job. When Major Pitt called him into the London office, Wheeler was trying to track down his old mentor, Fairchild. It had been Fairchild who had pulled him into the business. Not everyone is cut out to be a spy--Wheeler excelled at it. And Pitt would simply not accept his refusal. Now he is off to Kaden in North Africa, where three Arab chieftains who had been feuding for years are suddenly acting very friendly. Wheeler's mission--find out why. The last person he expects to run into is Fairchild. It is good to see his old friend--so why did it all feel so wrong? A House in Naples Charley had a sweet set-up in Naples. He and his partner Joe Lenken run a tight blackmarket operation. But tonight there is trouble and Charley is shot--and worse, he is recognized. Fleeing the police, he has to get his hands on a passport fast. Luck is with him in the form of a dead American drunk. All Charley has to do is get rid of the body. Weighting the body, he lowers it into the Tiber, his body wracked with pain from the bullet wound. But his luck runs out--he is seen! She is standing on the bridge overhead. But instead of crying "murder" she helps him up the bank and takes him away to tend his wounds. But is she Charley's guardian angel--or the sweet angel of death?

MURDER ME FOR NICKELS Walter Lippit makes music all over town. He owns the juke boxes that play the tunes that keeps the bars and the diners hopping. Jack St. Louis works for Lippit, smoothing the customers and keeping the nickels coming. But then along comes Benotti and the Chicago syndicate to louse up the operation. It's everything Jack can do to stay one step ahead. One step ahead of Benotti's gang, Lippet--and Lippit's willing wife Patty, who wants to be a singer and is convinced that Jack can make that happen too. And maybe he can. It's all in a week's work. BENNY MUSCLES IN Benny Tapkow has worked as crime boss Pendleton's chauffeur for seven years, but he's itching to get ahead. He feels like he deserves a piece of the action, but Pendleton won't budge. So Benny strikes a deal with Big Al Alverato to kidnap Pendleton's daughter Pat to get him in with the rival gang. But the snatch doesn't come off as planned, and now Benny is stuck with Pat, a hellion with a temper and plenty of mood swings. Pendleton's men are after him and he has to dope her just to keep her in line. The last thing he figured on was falling in love.

Quinn thought he had all the angles figured. After all, taking over the Organization should be a piece of cake for such a smart guy. But what he didn’t figure was that boss Ryder would stuff him in a large crate with enough food and water to sustain him - and ship him around the world. When the freighter ports at the North African town of Okar, the captain of the boat decides it's time to unload the box. It's starting to make noises, and it smells bad. What emerges from this wooden coffin looks barely human. But once Quinn recovers, he starts to look around. Is this a new chance at life, or an opportunity to cash in on another racket, halfway around the world?

This text features Sir Peter Ustinov's comments on his own life and others, and a variety of different subjects. The topics range from the funny to the ennobling and wise. For example, on the subject of "Money corrupts - particularly those who don't have any"; on "Spartacus", Ustinov says, "'Spartacus' must be the first film about a historical subject that took longer to make than the event it was about"; and on Audrey Hepburn, "Statistics tell us that Audrey died young. What no statistics can show is that Audrey would have died young at any age."

"I Looked into its filmy eyes inquisitively and saw it was the body's fear, not mine, not the soul's, and so it was fear of death. I realized I could distinguish between my inner self and my physical body... An ice-cold surface covered my inner heat." In this short story a man relates his inner-most thoughts and reflections as he suffers a heart attack on the on the street and is then brought back to life after three and a half minutes. It is a compelling tale of something appalling and yet completely ordinary, of pain and fear and acceptance, whilst walking the thin dividing line between life and death. In contrast to the speed of this near-death experience, the book includes a series of photographs in which the passage of time is hardly apparent. Over the course of a year the author photographed a wild pear tree in his garden at different times of the day and year, recording its changes under the differing light conditions. My Own Death contrasts perceptions of the here and now with the hereafter, and its complex composition alludes to mortal time and passage.

Bringing together essays, research studies, etc., written over the past two decades, this book traces a history of political & intellectual debates on the left & in cultural studies, around central issues of education, labour & the youth question.

Based on an intriguing alternative history hypothesis, this novel imagines a world where the Moors never left Southern Spain after their 800-year reign but instead expanded their empire across Europe. This fascinating premise is explored through the chaotic lens of a bumbling film crew in the Sahara desert. The director, lost in a haze of Moroccan kif, has embraced the local culture a little too enthusiastically. With the scriptwriters gone and the leading actor in a perpetual sulk inside his Airstream, the production is at a standstill. Enter Tinctorio Indigolin, a bitcoin billionaire on the run from a Shakespeare-quoting Irish assassin. In a bid to leverage a tax loss, Indigolin acquires the film rights, injecting a new lease of life into the project. Mysteriously, a captivating screenplay begins to appear on set, page by page, night after night. Penned by an enigmatic writer, the script proposes a world where the Moors didn't just resist expulsion in 1492 but went on to dominate Spain, France, and Italy, creating an Islamic State of Europe. As the screenplay unfolds, it transforms the lives of everyone involved in the film. The narrative weaves through a labyrinth of twists, assassinations, and narrow escapes, employing the most unexpected methods, only to culminate in the most uplifting conclusion you'll encounter this year.

"Two names have been added to my list of a dozen Liberators from Cromwell to Lenin, because I felt that Franklin Roosevelt and Winston Churchill will leave the world a good deal freer than they found it two year ago." - Philip Guedalla 1942 The Liberators weaves together the biographies of famous political figures from Oliver Cromwell to Roosevelt and Churchill. Together, their stories tell international tales of freedom, revolution and change, including: William Penn, the philosopher and early Quaker. Thomas Masaryk, the first president of Czechoslovak. Giuseppe Garibaldi, a key player in Italian Unification. Georges Clemenceau, the French Premier during the First World War. Vladimir Lenin, the Russian Communist revolutionary. Philip Guedalla has united different countries and different times to show a world sailing towards liberty, with each historical figure as its captain. First published during the Second World War, The Liberators is about courage, strength and determination. From leaders of the English Civil War to Twentieth-Century revolutions, The Liberators is a tale of great men who achieved great things. Praise for Philip Guedalla 'Polished, witty, lucid, excellently proportioned.' - The Times 'A brilliant piece of work.' - Spectator 'Lively, dashing, entertaining.' - Daily Telegraph Philip Guedalla (1889-1944) was the Oxford University President of the Union Society. Later he was called to the Bar and contested several Parliamentary elections as a Liberal. Having become interested in British relations with South America, he founded the Ibero-American Institute and was responsible for the Latin-American Division of the British Council. He lectured in both North and South America, and broadcast frequently to South America. Among other distinguished books by him are The Second Empire, Palmerston and Mr Churchill.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.