Introduction to Residential Layout,
Introduction to Residential Layout,...
The Promised City: New York's Jews, 1870-1914
Rischin paints a vivid picture of Jewish life in New York at the turn of the century. Here are the old neighborhoods and crowded tenements, the Rester Street markets, the sweatshops, the birth of Yiddish theatre in America, and the founding of important Jewish newspapers and labor movements. The book describes, too, the city's response to this great influx of immigrants?a response that marked the beginning of a new concept of social responsibility....
Do Democracies Win Their Wars? – An International Security Reader
Do Democracies Win Their Wars? – An International Security Reader...
Gorf, or Gorf and the Blind Dyke
Readers of Michael McClure's play Gorf may be reminded of Alfred Jarry's LJbu Roi, even if dancing TV sets and the "Middle American" protagonists Mert and Gert bring the surreal effect down to native ground. On another level, Gorf is a ritual of regeneration, or, if you like, a kind of spiritualized Hellzapoppin. The "murdered" Mert and Gert are reborn in the search for their child, the Shitfer, who disintegrated when "hurled through Time and Space," is resurrected as his discrete "pieces" find and recognize their unity. And presiding over all is Gorf himself - the flying purple phallus, the cosmic joke and l|fe principle.
"Our fantasies", McClure explains, "when they are enacted, open infinite doors. A play may help us be what we truly are by showing us the possibilities of action." And John Lion, who conceived and produced the widely acclaimed 1974 Magic Theater production of Gorf in San Francisco, adds in his introduction that "man's capacity for renewal and rebirth is tied to his ability to remain in touch with his child self." With this in mind, Gorf is both a play and play itself - satire and myth, married to frivolity and fable. This edition includes photographs by Ron Schcrl from the original stage production....
Fritz Lang: Genre and Representation in His American Films
Challenging the myth that Fritz Lang's best work ended when he reached Hollywood, Reynold Humphries takes a new look at seventeen of the director's twenty-two American films. Made between 1936 and 1956, these films -ury, You Only Live Once, You and Me, Man Hunt, Hangmen Also Die, The Ministry of Fear, The Woman in the Window, Scarlet Street, Cloak and Dagger, Secret beyond the Door, House by the River, Rancho Notorious, The Blue Gardenia, The Big Heat, Moonfleet, While the City Sleeps, and Beyond a Reasonable Doubt - broadly validate the insights of auteur theory while emphasizing the importance of the narrative and representational codes peculiar to a given genre.
Humphries examines these films in light of semiotics and psychoanalysis, drawing on Freud's "Wolfman" case and Lacan's theories of "the subject" and "the look" to bring novel solutions to crucial theoretical problems in such areas as the spectator, classical film narrative, and genre. In applying critical theory to Lang's Hollywood-made film noirs, melodramas, Westerns, and spy films, Humphries provocatively complicates auteur theory and revitalizes an unjustly neglected phase in the career of one of cinema's boldest visionaries....
Java Generics and Collections
Java Generics and Collections...
Library of History – Books IV,59– VIII L340 V 3 (Trans. Oldfather)(Greek)
Library of History – Books IV,59– VIII L340 V 3 (Trans. Oldfather)(Greek)...
Library of History – Books XIV–XV,19 L399 V 6 (Trans. Oldfather)(Greek)
Library of History – Books XIV–XV,19 L399 V 6 (Trans. Oldfather)(Greek)...
The Wall Street Waltz
The Strangeness of Beauty
The Strangeness of Beauty...