In this instant New York Times bestseller, Misty Copeland makes history, telling the story of her journey to become the first African-American principal ballerina at the prestigious American Ballet Theatre. But when she first placed her hands on the barre at an after-school community center, no one expected the undersized, underprivileged, and anxious thirteen-year-old to become one of America’s most groundbreaking dancers . A true prodigy, she was attempting in months roles that take most dancers years to master. But when Misty became caught between the control and comfort she found in the world of ballet and the harsh realities of her own life, she had to choose to embrace both her identity and her dreams, and find the courage to be one of a kind.
With an insider’s passion, Misty opens a window into the life of an artist who lives life center stage, from behind the scenes at her first classes to her triumphant roles in some of the world’s most iconic ballets. A sensational memoir as “sensitive” and “clear-eyed” (The Washington Post) as her dancing, Life in Motion is a story of passion, identity and grace for anyone who has dared to dream of a different life.
Walter Kaufmann's commentary, with its many quotations from previously untranslated letters, brings to life Nietzsche as a human being and illuminates his philosophy. The book contains some of Nietzsche's most sustained discussions of art and morality, knowledge and truth, the intellectual conscience and the origin of logic.
Most of the book was written just before Thus Spoke Zarathustra, the last part five years later, after Beyond Good and Evil. We encounter Zarathustra in these pages as well as many of Nietzsche's most interesting philosophical ideas and the largest collection of his own poetry that he himself ever published.
Walter Kaufmann's English versions of Nietzsche represent one of the major translation enterprises of our time. He is the first philosopher to have translated Nietzsche's major works, and never before has a single translator given us so much of Nietzsche.
The ancients regarded rhetoric as the crowning intellectual discipline — the synthesis of logical principles and other knowledge attained from years of schooling. Modern readers will find considerable relevance in Aristotelian rhetoric and its focus on developing persuasive tools of argumentation. Aristotle's examinations of how to compose and interpret speeches offer significant insights into the language and style of contemporary communications, from advertisements to news reports and other media.
Teacher recommended, Gail Grant's Technical Manual has long been one of the most popular and effective ballet reference guides. Completely revised and updated, this third edition is virtually a new work and should be owned by every student, dance teacher, choreographer, and ballet enthusiast — even those who purchased the second edition. Extensive revision, expansion, and the inclusion of more than 300 new terms have added immeasurably to the value of this concise, definitive manual.
Moving from "abstract ballet" and "adage, adagio" to "working leg" and "wrapped position," the book fully describes and defines over 1,100 ballet steps (saul de chat, jeté enveloppé, failli, entrechat six, etc.), movements and poses (arabesque, épaulement, attitude, en arrière, retiré, à terre, dégagé, etc.), and other expressions and concepts. For each, first a phonetic transcription is provided, then a literal translation, and finally an explanation of how the step is performed, the pose captured, or the movement executed, of how the concept fits in with actual ballet dancing, or of the purpose or function of the idea. A pronunciation guide, cross-references to alternate names for similar steps and positions that vary from the Russian to the French or Italian schools, and a bibliography are all invaluable aids.
But the most important supplement is the 15-page pictorial section, drawn by the author, who is both a successful ballet teacher and dancer. Keyed to the dictionary (and vice-versa), these diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many of the more common ballet steps and movements. This essential and easy reference is a must for every teacher, aspiring dancer, and ballet class.
Voice acting is like acting, but just using your voice! It's a unique career where the actor's voice can be heard worldwide-in commercials, on audiobooks, in animated movies, documentaries, online videos, telephone systems and much, much more. The point is to bring the written word to life with the human voice.
With step-by-step explanations and an abundance of examples, Voice Acting For Dummies is the ultimate reference for budding voice actors on auditioning, recording, producing voice-overs, and promoting themselves as a voice actor.Creating a voice acting demo Finding your signature voice Interpreting scripts Using audio editing software Promoting your voice acting talents
If you're an aspiring voice actor or an actor or singer considering a career transition, Voice Acting For Dummies has everything you need to let your voice talents soar.
The extraordinary memoir of a peasant boy raised in rural Maoist China who was plucked from his village to study ballet and went on to become one of the greatest dancers of his generation.
From a desperately poor village in northeast China, at age eleven, Li Cunxin was chosen by Madame Mao's cultural delegates to be taken from his rural home and brought to Beijing, where he would study ballet. In 1979, the young dancer arrived in Texas as part of a cultural exchange, only to fall in love with America-and with an American woman. Two years later, through a series of events worthy of the most exciting cloak-and-dagger fiction, he defected to the United States, where he quickly became known as one of the greatest ballet dancers in the world. This is his story, told in his own inimitable voice.
THE BASIS FOR A MAJOR MOTION PICTURE
From the Trade Paperback edition.
The principles of Vaganova's system are presented in this well-known book. Mme. Vaganova's aim of creating a personal approach to the Russian dance was based on the critical assimilation of the experience of her contemporaries. Her ability to choose the best of what had been accomplished in the various ballet traditions (French, Italian, and Russian) and combine these into a unified teaching practice in itself amounted to a new school of dance. She firmly believed that the teaching process should be a planned exercise, ever changing with innovations in the dance. She sought from her pupils emotional expressiveness, strictness of form, a resolute, energetic manner of performance, and the understanding of the underlying coordination of movements.
Her book discusses all basic principles of ballet, grouping movements by fundamental types. Chapters cover battements, rotary movements of the legs, the arms, poses of the classical dance, connecting and auxiliary movements, jumps, beats, point work, and turns as well as material for a sample lesson. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. The result is a fundamental theory of dance that offers dancers, teachers, and ballet lovers information often difficult to locate in other books.
At once among the most widely beloved and most reviled and lampooned pop stars of the past few decades, Céline Dion's critics call her mawkish and overblown while millions of fans around the world adore her "huge pipes” and even bigger feelings. How can anyone say which side is right?
This new, expanded edition goes even further, calling on thirteen prominent writers and musicians to respond to themes ranging from sentiment and kitsch to cultural capital and musical snobbery. The original text is followed by lively arguments and stories from Nick Hornby, Krist Novoselic, Ann Powers, Mary Gaitskill, James Franco, Sheila Heti and others.
In a new afterword, Carl Wilson examines recent cultural changes in love and hate, including the impact of technology and social media on how taste works (or doesn't) in the 21st century.
Including annotated further reading at the end of each chapter, Fight Club is essential reading for anyone interested in the film, as well as those studying philosophy and film studies.
A classic of eighteenth-century thought, Friedrich Schiller’s treatise on the role of art in society ranks among German philosophy’s most profound works. In addition to its importance to the history of ideas, this 1795 essay remains relevant to our own time.
Beginning with a political analysis of contemporary society — in particular, the French Revolution and its failure to implement universal freedom — Schiller observes that people cannot transcend their circumstances without education. He conceives of art as the vehicle of education, one that can liberate individuals from the constraints and excesses of either pure nature or pure mind. Through aesthetic experience, he asserts, people can reconcile the inner antagonism between sense and intellect, nature and reason.
Schiller’s proposal of art as fundamental to the development of society and the individual is an enduringly influential concept, and this volume offers his philosophy’s clearest, most vital expression.
Winston Smith rewrites history for the Ministry of Truth, but when he’s handed a note that says simply ‘I love you’ by a woman he hardly knows, he decides to risk everything in a search for the real truth. In a world where cheap entertainment keeps the proles ignorant but content, where a war without end is always fought and the government is always watching, can Winston possibly hold onto what he feels inside? Or will he renounce everything, accept the Party’s reality and learn to love Big Brother?
‘Dunster – both in his faithful take on the story and in his sometimes extreme but always enthralling adaptation – gets close to the heart of Orwell’s warning, pointing up but not overemphasising its current political resonances.... Newspeak, Doublethink, Room 101 and Thought Police take on a chilling reality in this compelling production.’ – The Independent
Called "the sleeper hit of the publishing season" (The Boston Globe), Shop Class as Soulcraft became an instant bestseller, attracting readers with its radical (and timely) reappraisal of the merits of skilled manual labor. On both economic and psychological grounds, author Matthew B. Crawford questions the educational imperative of turning everyone into a "knowledge worker," based on a misguided separation of thinking from doing. Using his own experience as an electrician and mechanic, Crawford presents a wonderfully articulated call for self-reliance and a moving reflection on how we can live concretely in an ever more abstract world.
What makes a work of literature good or bad? How freely can the reader interpret it? Could a nursery rhyme like Baa Baa Black Sheep be full of concealed loathing, resentment, and aggression? In this accessible, delightfully entertaining book, Terry Eagleton addresses these intriguing questions and a host of others. How to Read Literature is the book of choice for students new to the study of literature and for all other readers interested in deepening their understanding and enriching their reading experience.
In a series of brilliant analyses, Eagleton shows how to read with due attention to tone, rhythm, texture, syntax, allusion, ambiguity, and other formal aspects of literary works. He also examines broader questions of character, plot, narrative, the creative imagination, the meaning of fictionality, and the tension between what works of literature say and what they show. Unfailingly authoritative and cheerfully opinionated, the author provides useful commentaries on classicism, Romanticism, modernism, and postmodernism along with spellbinding insights into a huge range of authors, from Shakespeare and J. K. Rowling to Jane Austen and Samuel Beckett./div
This book relates these developments to nature, music, academe and our unquenchable human thirst for unending beauty, truth and ecstasy, a thirst quenched only at the summit of contemplative prayer here below, and in the consummation of the beatific vision hereafter.
The book begins by tracing the shifting use and nature of metaphysics in the thought of Kant, Hegel, Nietzsche, Heidegger, Lyotard, Derrida, Deleuze, Nancy, Levinas, and others. Hart pays special attention to Nietzsche's famous narrative of the "will to power" -- a narrative largely adopted by the world today -- and he offers an engaging revision (though not rejection) of the genealogy of nihilism, thereby highlighting the significant "interruption" that Christian thought introduced into the history of metaphysics.
This discussion sets the stage for a retrieval of the classic Christian account of beauty and sublimity, and of the relation of both to the question of being. Written in the form of a dogmatica minora, this main section of the book offers a pointed reading of the Christian story in four moments, or parts: Trinity, creation, salvation, and eschaton. Through a combination of narrative and argument throughout, Hart ends up demonstrating the power of Christian metaphysics not only to withstand the critiques of modern and postmodern thought but also to move well beyond them.
Strikingly original and deeply rewarding, The Beauty of the Infinite is both a constructively critical account of the history of metaphysics and a compelling contribution to it.
Sex, as much as dance, was a driving force for Nureyev. From his first secret liaison in Russia to his tempestuous relationship with the great Danish dancer Erik Bruhn, we see not only Nureyev’s notorious homosexual history unfold, but also learn of his profound effect on women--whether a Sixties wild child or Jackie Kennedy and Lee Radziwill or the aging Marlene Dietrich. Among the first victims of AIDS, Nureyev was diagnosed HIV positive in 1984 but defied the disease for nearly a decade, dancing, directing the Paris Opéra Ballet, choreographing, and even beginning a new career as a conductor. Still making plans for the future, Nureyev finally succumbed and died in January l993.
Drawing on previously undisclosed letters, diaries, home-movie footage, interviews with Nureyev’s inner circle, and her own dance background, Julie Kavanagh gives the most intimate, revealing, and dramatic picture we have ever had of this dazzling, complex figure.
NOTE: This edition does not include photos.
Swans of the Kremlin offers a fascinating glimpse at the collision of art and politics during the volatile first fifty years of the Soviet period. Ezrahi shows how the producers and performers of Russia’s two major troupes, the Mariinsky (later Kirov) and the Bolshoi, quietly but effectively resisted Soviet cultural hegemony during this period. Despite all controls put on them, they managed to maintain the classical forms and traditions of their rich artistic past and to further develop their art form. These aesthetic and professional standards proved to be the power behind the ballet’s worldwide appeal. The troupes soon became the showpiece of Soviet cultural achievement, as they captivated Western audiences during the Cold War period.
Based on her extensive research into official archives, and personal interviews with many of the artists and staff, Ezrahi presents the first-ever account of the inner workings of these famed ballet troupes during the Soviet era. She follows their struggles in the postrevolutionary period, their peak during the golden age of the 1950s and 1960s, and concludes with their monumental productions staged to celebrate the fiftieth anniversary of the revolution in 1968.
Scarry argues that our responses to beauty are perceptual events of profound significance for the individual and for society. Presenting us with a rare and exceptional opportunity to witness fairness, beauty assists us in our attention to justice. The beautiful object renders fairness, an abstract concept, concrete by making it directly available to our sensory perceptions. With its direct appeal to the senses, beauty stops us, transfixes us, fills us with a "surfeit of aliveness." In so doing, it takes the individual away from the center of his or her self-preoccupation and thus prompts a distribution of attention outward toward others and, ultimately, she contends, toward ethical fairness.
Scarry, author of the landmark The Body in Pain and one of our bravest and most creative thinkers, offers us here philosophical critique written with clarity and conviction as well as a passionate plea that we change the way we think about beauty.
As in his previous critiques, Kant seeks to establish a priori principles. The first part of this work addresses aesthetic sensibility. The human response to specific natural phenomena as beautiful, he asserts, is a recognition of nature's harmonious order that corresponds to a mental need for order. The critique's second half focuses on the apparent teleology in nature's design of organisms. The philosopher declares that the mind is predisposed to find purpose and order in nature, and this predisposition forms the main principle underlying all our judgments. Although this could be interpreted as an argument in favor of a creator, Kant insists that a supernatural dimension or the existence of God cannot be proven — such considerations lie beyond the realm of reason, solely within the province of faith.
This is the first book to explore and address the myriad philosophical questions raised by the film, concerning personal identity, free will, memory, knowledge, and action. It also explores problems in aesthetics raised by the film through its narrative structure, ontology, and genre. Beginning with a helpful introduction that places the film in context and maps out its complex structure, specially commissioned chapters examine the following topics:
memory, emotion, and self-consciousness
agency, free will, and responsibility
narrative and popular cinema
the film genre of neo-noir
Memento and multimedia
Including annotated further reading at the end of each chapter, Memento is essential reading for students interested in philosophy and film studies.
Jenifer Ringer, a principal dancer with the New York City Ballet, was thrust into the headlines after her weight was commented on by a New York Times critic, and her response ignited a public dialogue about dance and weight.
Ballet aficionados and aspiring performers of all ages will want to join Ringer behind the scenes as she shares her journey from student to star and candidly discusses both her struggle with an eating disorder and the media storm that erupted after the Times review. An unusually upbeat account of life on the stage, Dancing Through It is also a coming-of-age story and an inspiring memoir of faith and of triumph over the body issues that torment all too many women and men.
Weaving between cultures and time periods, the author focuses on a remarkably wide range of theories: in the West, the Kantian notion of disinterested contemplation, Heidegger's Gelassenheit, semiotics, and pragmatism; in Japan, Zeami's notion of riken no ken, the Kyoto School's intepretation of nothingness, D. T. Suzuki's analysis of the function of no-mind, and the writings of Kuki Shuzo on Buddhist detachment. Portrait of the artist fiction by such writers as Henry James, James Joyce, Mori Ogai, and Natsume Soseki demonstrates how the main theme of detachment is expressed in literary traditions. The role of sympathy or pragmatism in relation to disinterest is examined, suggesting conflicts within or challenges to the notion of detachment.
Researchers and students in Eastern and Western areas of study, including philosophers and religionists, as well as literary and cultural critics, will deem this work an invaluable contribution to cross-cultural philosophy and literary studies.
This is the first book to explore and address the philosophical aspects of Eternal Sunshine of the Spotless Mind. Beginning with a helpful introduction that places each essay in context, specially commissioned chapters examine the following topics:
philosophical issues surrounding love, friendship, affirmation and repetition
the role of memory (and the emotions) in personal identity and decision-making
the morality of imagination and ethical importance of memory
philosophical questions about self-knowledge and knowing the minds of others
the aesthetics of the film considered in relation to Gondry’s other works and issues in the philosophy of perception
Including a foreword by Michel Gondry and a list of further reading, this volume is essential reading for students interested in philosophy and film studies.
Although a historical organization is employed wherever a particular movement unfolds from earlier movements, the text's main organization is not motivated by an academic or historical treatment of the various topics. Instead, the topics themselves are of primary concern, in such a way that readers will come away with a complete overview of the canon of this highly significant area of western philosophy.
At the top of the stairs there are four secrets hidden. Blond, beautiful, innocent, and struggling to stay alive . . .
They were a perfect family, golden and carefree—until a heartbreaking tragedy shattered their happiness. Now, for the sake of an inheritance that will ensure their future, the children must be hidden away out of sight, as if they never existed. Kept on the top floor of their grandmotherds vast mansion, their loving mother assures them it will be just for a little while. But as brutal days swell into agonizing months and years, Cathy, Chris, and twins Cory and Carrie, realize their survival is at the mercy of their cruel and superstitious grandmother . . . and this cramped and helpless world may be the only one they ever know.
Book One of the Dollanganger series, the sequels include Petals in the Wind, If There Be Thorns, Seeds of Yesterday, and Garden of Shadows. Then experience the attic from Christopher’s point of view in Christopher’s Diary: Secrets of Foxworth and Christopher’s Diary: Echoes of Dollanganger.
What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media.
Disparities explores contemporary 'negative' philosophies from Catherine Malabou's plasticity, Julia Kristeva's abjection and Robert Pippin's self-consciousness to the God of negative theology, new realisms and post-humanism and draws a radical line under them. Instead of establishing a dialogue with these other ideas of disparity, Slavoj Žižek wants to establish a definite departure, a totally different idea of disparity based on an imaginative dialectical materialism. This notion of rupturing what has gone before is based on a provocative reading of how philosophers can, if they're honest, engage with each other. Slavoj Žižek borrows Alain Badiou's notion that a true idea is the one that divides. Radically departing from previous formulations of negativity and disparity, Žižek employs a new kind of negativity: namely positing that when a philosopher deals with another philosopher, his or her stance is never one of dialogue, but one of division, of drawing a line that separates truth from falsity.
The first chapter defines and illustrates the basic theory of the positions, body movements, and technical terms. Detailed chapters of exercises include "Exercises at the Bar," "Port de Bras," "Centre Practice," "Adagio," and "Allegro." Each exercise appears with a numbered series of instructions, and a table of daily exercises for the week is provided. The text is accompanied by 109 line illustrations, showing positions and movements of the body in detail and offering ballet lovers a perfect guide to the basics of classical ballet.
The story of the fire, its causes, and its legal and human aftermath is one of lives put at risk by petty economic decisions--by a band, club owners, promoters, building inspectors, and product manufacturers. Any one of those decisions, made differently, might have averted the tragedy. Together, however, they reached a fatal critical mass.
Killer Show is the first comprehensive exploration of the chain of events leading up to the fire, the conflagration itself, and the painstaking search for evidence to hold the guilty to account and obtain justice for the victims.
Anyone who has entered an entertainment venue and wondered, "Could I get out of here in a hurry?" will identify with concertgoers at The Station. Fans of disaster nonfiction and forensic thrillers will find ample elements of both genres in Killer Show.
For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. Lavishly illustrated and beautifully told, Apollo’s Angels—the first cultural history of ballet ever written—is a groundbreaking work. From ballet’s origins in the Renaissance and the codification of its basic steps and positions under France’s Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans, a historian, critic, and former professional ballerina, wields a knowledge of dance born of dedicated practice. Her admiration and love for the ballet, asEntertainment Weekly notes, brings “a dancer’s grace and sure-footed agility to the page.”
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW • LOS ANGELES TIMES • SAN FRANCISCO CHRONICLE • PUBLISHERS WEEKLY
A gorgeously unique, fully illustrated exploration into the phenomenology of reading—how we visualize images from reading works of literature, from one of our very best book jacket designers, himself a passionate reader.
What do we see when we read? Did Tolstoy really describe Anna Karenina? Did Melville ever really tell us what, exactly, Ishmael looked like? The collection of fragmented images on a page—a graceful ear there, a stray curl, a hat positioned just so—and other clues and signifiers helps us to create an image of a character. But in fact our sense that we know a character intimately has little to do with our ability to concretely picture our beloved—or reviled—literary figures. In this remarkable work of nonfiction, Knopf's Associate Art Director Peter Mendelsund combines his profession, as an award-winning designer; his first career, as a classically trained pianist; and his first love, literature—he considers himself first and foremost as a reader—into what is sure to be one of the most provocative and unusual investigations into how we understand the act of reading.
From the Trade Paperback edition.