Calling on the natural world around her for inspiration, Eileen Mayo's extraordinary skill with line, colour and composition made her one of Britain's foremost print artists in 1930s London, where she exhibited alongside the likes of Claude Flight, Sybil Andrews and Cyril Power. Mayo left it all behind when, in 1953, she abandoned London for Sydney then Christchurch, each move generating a new body of work. This is the first substantial publication on Mayo, publishing for the first time many of her exquisite neo-romantic wood engravings, prints, designs and book illustrations that continue to enthral and delight audiences.
When visiting an elderly relative or friend, are you often at a loss for what to talk about? After the initial pleasantries, do the minutes drag on? You may very well love this person, but find yourself struggling to carry on a conversation. An hour can seem endless. If only you could think of something interesting to talk about! If Only You Would Ask transforms this situation! Open to any page and soon find yourself engaged in meaningful conversation. With forty-two topics and over four hundred questions, If Only You Would Ask provides a framework for tapping into memories that may not have been thought about or talked about for years! You and the person you are visiting will both enjoy your time together. In fact, you will look forward to your next get together. Every person has stories to share, If Only You Would Ask! About the Author Mother-daughter duo Eileen Opatz Berger and Joan Berger Bachman teamed up for five years to make this timeless resource available for all those who spend time with the elderly. Eileen Opatz Berger graduated from the College of St. Benedict and the University of Wis/River Falls. Presently she teaches English as a second language. Along with her family, foreign students have been the joy of her life. Favorite pastimes include travel, writing, and tennis. She currently divides her time between White Bear Lake, Minnesota and Sun City West, Arizona. Joan Berger Bachman is extremely pleased and proud to be coauthoring a book with her mom! As a teenager, Joan recalls her mother's advice: "When you are in a social situation, always make an effort to ask each person three questions. This shows that you are interested in what they have to say…" In other words, give people the opportunity to talk about themselves! Generally, people are pleased to share, and you will have deflected the attention from yourself! So it comes as no real surprise that four decades later, she has coauthored a book filled with questions to promote quality conversations! Joan resides with her husband John in Rochester, Minnesota. Proud mother of three grown children and grandmother to five, she is grateful for family, for health, and for friends who continue to enrich her life.
The Colbeck collection was formed over half a century ago by the Bournemouth bookseller Norman Colbeck. Focusing primarily on British essayists and poets of the nineteenth century from the Romantic Movement through the Edwardian era, the collection features nearly 500 authors and lists over 13,000 works. Entries are alphabetically arranged by author with copious notes on the condition and binding of each copy. Nine appendices provide listings of selected periodicals, series publications, anthologies, yearbooks, and topical works.
Stravinsky in Context offers an alternative to chronological biography. Thirty-five short, specially commissioned essays explore the eventful life-tapestry from which Stravinsky's compositions emerged. The opening chapters draw on new research into the composer's childhood in St. Petersburg. Stravinsky's early, often traumatic upbringing is examined in depth, particularly in the context of his brother Roman's death, and religious sensibilities within the family. Further essays consider Stravinsky's years in exile at the centre of dynamic and ever-evolving cultural environments, the composer constantly refining his idiom and re-defining his aesthetics against a backdrop of world events and personal tragedy. The closing chapters review new material regarding Stravinsky's complicated relationship with the Soviet Union, whilst also anticipating his legacy from the varied perspectives of publishing, research and even - in the iconic example of The Rite of Spring - space exploration. The book includes previously unpublished images of the composer and his family.
Touching on indigenous Maori relationships with the now-extinct, flightless moa; the attitudes of Pakeha, or European, settlers toward sheep; the iconography of whales and dolphins; the problems of pest-control; and the pleasures of pet-keeping, this modern-day bestiary is a fascinating study of human&–animal relations. In the book's four parts, the authors unravel the contradictory ways New Zealanders nurture and eradicate, glorify and demonize, cherish and devour, and describe and imagine animals. The study brings together insights from New Zealand's arts and literature, popular culture, historiography, media, and everyday life to describe and analyze their interactions with nga kararehe and nga manu, the beasts and birds of the land. In doing so, it illuminates fundamental aspects of New Zealand society: how New Zealanders understand their own identities and those of others; how they regard, inhabit, and make use of the natural world; and how they think about what they buy, eat, wear, watch, and read. Rich, multifaceted, and engaging, A New Zealand Book of Beasts satisfyingly explores how culture both shapes and is shaped by the &“beasts&” of Aotearoa.
This book aims to redefine Australia’s earliest art history by chronicling for the first time the birth of the category "Aboriginal art," tracing the term’s use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of "Aboriginal art" developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.
Ukrainian dancer and choreographer Serge Lifar (1905-86) is recognized both as the modernizer of French ballet in the twentieth century and as the keeper of the flame of the classical tradition upon which the glory of French ballet was founded. Having migrated to France from Russia in 1923 to join Diaghilev's Ballets Russes, Lifar was appointed star dancer and ballet director at the Paris Opéra in 1930. Despite being rather unpopular with the French press at the start of his appointment, Lifar came to dominate the Parisian dance scene-through his publications as well as his dancing and choreography-until the end of the Second World War, reaching the height of his fame under the German occupation of Paris (1940-44). Rumors of his collaborationism having remained inconclusive throughout the postwar era, Lifar retired in 1958. This book not only reassesses Lifar's career, both aesthetically and politically, but also provides a broader reevaluation of the situation of dance-specifically balletic neoclassicism-in the first half of the twentieth century. The Fascist Turn in the Dance of Serge Lifar is the first book not only to discuss the resistance to Lifar in the French press at the start of his much-mythologized career, but also the first to present substantial evidence of Lifar's collaborationism and relate it to his artistic profile during the preceding decade. In examining the political significance of the critical discussion of Lifar's body and technique, author Mark Franko provides the ground upon which to understand the narcissistic and heroic images of Lifar in the 1930s as prefiguring the role he would play in the occupation. Through extensive archival research into unpublished documents of the era, police reports, the transcript of his postwar trial and rarely cited newspaper columns Lifar wrote, Franko reconstructs the dancer's political activities, political convictions, and political ambitions during the Occupation.
This book is an investigation of the way the Aboriginal art phenomenon has been entangled with Australian society’s negotiation of Indigenous people’s status within the nation. Through critical reflection on Aboriginal art’s idiosyncrasies as a fine arts movement, its vexed relationship with money, and its mediation of the politics of identity and recognition, this study illuminates the mutability of Aboriginal art’s meanings in different settings. It reveals that this mutability is a consequence of the fact that a range of governmental, activist and civil society projects have appropriated the art’s vitality and metonymic power in national public culture, and that Aboriginal art is as much a phenomenon of visual and commercial culture as it is an art movement. Throughout these examinations, Fisher traces the utopian and dystopian currents of thought that have crystallised around the Aboriginal art movement and which manifest the ethical conundrums that underpin the settler state condition.
The Colbeck collection was formed over half a century ago by the Bournemouth bookseller Norman Colbeck. Focusing primarily on British essayists and poets of the nineteenth century from the Romantic Movement through the Edwardian era, the collection features nearly 500 authors and lists over 13,000 works. Entries are alphabetically arranged by author with copious notes on the condition and binding of each copy. Nine appendices provide listings of selected periodicals, series publications, anthologies, yearbooks, and topical works.
