This facsimile edition collects all 19 issues of 'Art-Rite' magazine, edited by art critics Walter Robinson and Edit DeAk from 1973 to 1978. Robinson, DeAk and a third editor, Joshua Cohn, met as art history students at Columbia University, and were inspired to found the magazine by their art criticism teacher, Brian O'Doherty. 'Art-Rite', cheaply produced on newsprint, served as an important alternative to the established art magazines of the period. 'Art-Rite' ran for only five years, and published only 19 issues. But in that time the magazine featured contributions from hundreds of artists, a list that now reads like a who's-who of 1970s art: Yvonne Rainer, Gordon Matta-Clark, Alan Vega (Suicide), William Wegman, Nancy Holt, Jack Smith, Dorothea Rockburne, Robert Morris, Adrian Piper, Laurie Anderson, Carolee Schneemann and Carl Andre; critics such as Lucy Lippard contributed writing. Through its single-artist issues and its thematic issues on performance, video and artists' books, 'Art-Rite' championed the new art of its era.
The horde of mad dragons continues to terrorize the realms—bringing all of Faerûn to the edge of cataclysm—in this second adventure starring dragonslayer Dorn Graybrook Rampaging dragons appear in more and more places every day. And if the soulless lich Sammaster gets his way—and there’s every reason to suspect he will—the disaster has only just begun. To defeat him and his curse of madness, the dragons must pay a steep price: their immortal souls in exchange for an eternity of undeath. The knowledge of that unavoidable truth may cause more madness among the dragons of Faerûn than the curse itself. For the dragonslayer Dorn Graybrook, a dragon is a dragon—whether or not it has skin. But what if it wears the skin of a woman he may just be falling in love with?
Memorials to Australian participation in wars abound in our landscape. From Melbourne's huge Shrine of Remembrance to the modest marble soldier, obelisk or memorial hall in suburb and country town, they mourn and honour Australians who have served and died for their country. Surprisingly, they have largely escaped scrutiny. Ken Inglis argues that the imagery, rituals and rhetoric generated around memorials constitute a civil religion, a cult of ANZAC. Sacred Places traces three elements which converged to create the cult: the special place of war in the European mind when nationalism was at its zenith; the colonial condition; and the death of so many young men in distant battle, which impelled the bereaved to make substitutes for the graves of which history had deprived them. The 'war memorial movement' attracted conflict as well as commitment. Inglis looks at uneasy acceptance, even rejection, of the cult by socialists, pacifists, feminists and some Christians, and at its virtual exclusion of Aborigines. He suggests that between 1918 and 1939 the making, dedication and use of memorials enhanced the power of the right in Australian public life. Finally, he examines a paradox. Why, as Australia's wars recede in public and private memory, and as a once British Australia becomes multicultural, have the memorials and what they stand for become more cherished than ever? Sacred Places spans war, religion, politics, language and the visual arts. Ken Inglis has distilled new cultural understandings from a familiar landscape.
Dancing Women: Female Bodies Onstage is a spectacular and timely contribution to dance history, recasting canonical dance since the early nineteenth century in terms of a feminist perspective. Setting the creation of specific dances in socio-political and cultural contexts, Sally Banes shows that choreographers have created representations of women that are shaped by - and that in part shape - society's continuing debates about sexuality and female identity. Broad in its scope and compelling in its argument Dancing Women: * provides a series of re-readings of the canon, from Romantic and Russian Imperial ballet to contemporary ballet and modern dance * investigates the gaps between plot and performance that create sexual and gendered meanings * examines how women's agency is created in dance through aspects of choreographic structure and style * analyzes a range of women's images - including brides, mistresses, mothers, sisters, witches, wraiths, enchanted princesses, peasants, revolutionaries, cowgirls, scientists, and athletes - as well as the creation of various women's communities on the dance stage * suggests approaches to issues of gender in postmodern dance Using an interpretive strategy different from that of other feminist dance historians, who have stressed either victimization or celebration of women, Banes finds a much more complex range of cultural representations of gender identities.
Get to know the beliefs and practices inspired by Jesus Christ Discover what it means to be a Christian and follow the gospel Curious about Christianity? This friendly guide helps you understand the basic teachings of the Christian faith, exploring the common ground that all Christians share, the differences among the major branches, the key events in Christian history, the key theological issues, and the many ways Christians live out their faith in today's world. The Dummies Way Explanations in plain English "Get in, get out" information Icons and other navigational aids Tear-out cheat sheet Top ten lists A dash of humor and fun Discover how to: Express the core essentials of Christianity Appreciate the life and teachings of Jesus Understand why the Bible is central to the faith Respect the unique roles of the Trinity Explore controversial issues among the branches
It's been a long time coming, and it's right around the corner... As author S.K. Bain detailed in The Most Dangerous Book in the World: 9/11 as Mass Ritual, the events of September 11th, 2001, constituted a global occult ceremony. But that was mere child's play compared to what he's uncovered since. If 9/11 was a MegaRitual, this is a GigaRitual, or TeraRitual even. Its scope and scale are truly difficult to grasp.***If you thought that 2012 was the end of Galactic Alignment, think again. However, this book doesn't propose some new date for the made-up Mayan Doomsday, far from it. We are on the cusp of a once-in-a-26,000-year event, one that, in astrological terms, knows no equal. Do not think for one moment that the masters of our world will let it pass unmarked.Black Jack reveals the true date of the End of the Great Age, the Mother of All Auspicious Occasions, a date that the Cryptocracy has been fixated on—and feverishly preparing for—over the past two centuries, and well before. It will almost assuredly bring a ritualistic celebration like none other ever witnessed, involving mass human sacrifice and the biggest fireworks show in history.***The world approaches the dawning of a new Grand Cycle, which the elite will inaugurate as the New Great Age of Satan. As we draw near, ask yourself this question: if you were among the ranks of these precious few ultra-powerful, would you spare any expense or effort to properly commemorate this unique occasion, or to fittingly dedicate it to your Dark Lord? Of course you wouldn't.And, as a member of the Cryptocracy, you would be so bold and fearless as to announce your intentions to the entire world, far in advance. You would provide all the useless eaters with the obligatory fair warning, mockingly giving notice in plain sight in the most powerful city in the world. You would encode The End of the Old World Order in the streets of Washington, D.C., which, as is revealed in these pages, is nothing less than a Gigantic Black Magickal Spellcasting Machine.Furthermore, you would embed the &‘date of demise' in the modern calendar, as plain as day for those with eyes to see. You would orchestrate a string of foreshadowing, preparatory lesser false-flag attacks / mass rituals in the decades leading up to the grand occasion, rituals involving, for instance, consecrated sacrificial vessels such as—as was the case on 9/11—commercial airliners filled with dozens of innocent victims.Your elite family is among those who have instigated world wars and induced global famines. You think nothing of the use of false-flag terrorism to achieve your goals and objectives—even nuclear false-flag terrorism.***One doesn't have to be a religious fundamentalist to sense it, or see it all around us—the Satanification of the World. Practically every public event is now a thinly-veiled, if at all, Satanic ritual. We are being driven hard towards something in the near future, something whose hideous form becomes clearer by the day. All the while, the grip of the global dark-occult technofascist dictatorship grows ever tighter.Preparations have been underway for a very long time, even from the Founding of America, and the hour grows late. With bated breath, the entire planet, knowingly or unknowingly, awaits the arrival of Black Jack.
Fully revised and expanded, this new work is the first major revision of the liturgical calendar of the Episcopal Church in more than 40 years! It is the official revision of Lesser Feasts and Fasts and authorized by the 2009 General Convention. All commemorations in Lesser Feasts and Fasts have been retained, and many new ones added. Three scripture readings (instead of current two) are provided for all minor holy days. Additional new material includes a votive mass of the Blessed Virgin Mary, many more ecumenical commemorations, plus a proper for space exploration. For years the oft revised volume, Lesser Feasts and Fasts (LFF), has served parishes and individuals mark part of the holiness of each day by providing Scripture readings, a collect, a Eucharistic preface, and a narrative about those remembered on the church's calendar that day whose lives have witnessed to the grace of God. Holy Women, Holy Men (HWHM) is a major effort to revise, but also to expand and enrich LFF. Where LFF provided two readings (gospel and other New Testament) plus a psalm, HWHM adds an Old Testament citation. Where LFF was limited to few non-Anglicans in the post-reformation period (and few non-Episcopalians after 1789), HWHM dramatically broadens appreciation for other Christians and their traditions. Over-emphasis on clergy is redressed by additional laity, males by females, and "in-church" activities by contributions well beyond the workings of institutional agendas. These almost daily commemorations occupy over 600 of the book's 785 pages, by far the lion's share of its content. Remaining sections address: principles of revision and guides for future revision; liturgical propers for seasons (Advent/Christmas, Lent, and Easter); and new propers for a miscellany of propers usable with individuals (or events) not officially listed in the formal calendar. Two cycles of propers for daily Eucharist are also included, one covering a six week period, the other a two year cycle.
This book renews thinking about the moving body by drawing on dance practice and performance from across the world. Eighteen internationally recognised scholars show how dance can challenge our thoughts and feelings about our own and other cultures, our emotions and prejudices, and our sense of public and private space. In so doing, they offer a multi-layered response to ideas of affect and emotion, culture and politics, and ultimately, the place of dance and art itself within society. The chapters in this collection arise from a number of different political and historical contexts. By teasing out their detail and situating dance within them, art is given a political charge. That charge is informed by the work of Michel Foucault, Stuart Hall, Gilles Deleuze, Jacques Derrida, Rancière and Luce Irigaray as well as their forebears such as Spinoza, Plato and Freud. Taken together, Choreography and Corporeality: RELAY in Motion puts thought into motion, without forgetting its origins in the social world.
In a highly influential essay, Rose Rosengard Subotnik critiques "structural listening" as an attempt to situate musical meaning solely within the unfolding of the musical structure itself. The authors of this volume, prominent young music historians and theorists writing on repertories ranging from Beethoven to MTV, take up Subotnik’s challenge in what is likely to be one of musical scholarship’s intellectual touchstones for many years to come. Original, innovative, and sophisticated, their essays explore not only the implications of the "structural listening" model but also the alternative listening strategies that have developed in specific communities, often in response to twentieth-century Western music.
