Other books that might interest you

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  Reframing Holocaust Testimony

  Noah Shenker

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  “An invaluable resource” for individuals and institutions documenting the experiences of Holocaust survivors—or other historical testimony—on video (Journal of Jewish Identities). 
   
  Institutions that have collected video testimonies from the few remaining Holocaust survivors are grappling with how to continue their mission to educate and commemorate. Noah Shenker calls attention to the ways that audiovisual testimonies of the Holocaust have been mediated by the institutional histories and practices of their respective archives. 
   
  Shenker argues that testimonies are shaped not only by the encounter between interviewer and interviewee, but also by technical practices and the testimony process—and analyzes the ways in which interview questions, the framing of the camera, and curatorial and programming preferences impact how Holocaust testimony is molded, distributed, and received.

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  Streets Aren't Watching

  Tom McCaffrey

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  Streets Aren't Watching is Tom McCaffrey's rap album under the moniker TMC. It coincides with the releases of Adventures in Comedy, his feature film and comedy album releases of the same title. Join Tom while he raps about why mo' money means less problems and why Scarface is overrated.

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  XXX Porn for Women - Hotter...

  Cooperative Cambridge Women's...

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  Dare to dream! Here are your wildest fantasies in photos: men reading Jane Austen, spurning supermodels, and reading all of the instructions. 
   
  Porn for Women (over 100,000 copies sold in its first six months!) and Porn for New Moms left women begging for more. To satisfy, the Cambridge Women’s Pornography Collective has upped the ante with this “unrated” edition, showcasing men who are hotter, hunkier, and even more helpful around the house. In these forty ultra-steamy photos and fantasies, women will find their deepest desires fulfilled: “Honey, I paid off our mortgage!” and “I just booked you two weeks at Canyon Ranch spa!” This collection makes another sizzling addition to our hugely successful line of Porn for Women. Bring on the eye candy and bring on the clean laundry! 
   
  Praise for Porn for New Moms 
   
  “Genius gift idea . . . (I’ll be getting one for each of the 10 baby showers I have in the next three months!)” —Glamour Magazine 
   
  “It’s a book we wouldn’t mind sharing with every mother we know.” —Parenting.com 
   
  “This new book from Chronicle has got to be my favorite baby shower gift idea this year.” —RookieMom.com

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  Botticelli

  Victoria Charles, Emile Gebhart

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  He was the son of a citizen in comfortable circumstances, and had been, in Vasari’s words, “instructed in all such things as children are usually taught before they choose a calling.” However, he refused to give his attention to reading, writing and accounts, continues Vasari, so that his father, despairing of his ever becoming a scholar, apprenticed him to the goldsmith Botticello: whence came the name by which the world remembers him. However, Sandro, a stubborn-featured youth with large, quietly searching eyes and a shock of yellow hair – he has left a portrait of himself on the right-hand side of his picture of the Adoration of the Magi – would also become a painter, and to that end was placed with the Carmelite monk Fra Filippo Lippi. But he was a realist, as the artists of his day had become, satisfied with the joy and skill of painting, and with the study of the beauty and character of the human subject instead of religious themes. Botticelli made rapid progress, loved his master, and later on extended his love to his master’s son, Filippino Lippi, and taught him to paint, but the master’s realism scarcely touched Lippi, for Botticelli was a dreamer and a poet. 
      Botticelli is a painter not of facts, but of ideas, and his pictures are not so much a representation of certain objects as a pattern of forms. Nor is his colouring rich and lifelike; it is subordinated to form, and often rather a tinting than actual colour. In fact, he was interested in the abstract possibilities of his art rather than in the concrete. For example, his compositions, as has just been said, are a pattern of forms; his figures do not actually occupy well-defined places in a well-defined area of space; they do not attract us by their suggestion of bulk, but as shapes of form, suggesting rather a flat pattern of decoration. Accordingly, the lines which enclose the figures are chosen with the primary intention of being decorative. 
      It has been said that Botticelli, “though one of the worst anatomists, was one of the greatest draughtsmen of the Renaissance.” As an example of false anatomy we may notice the impossible way in which the Madonna’s head is attached to the neck, and other instances of faulty articulation and incorrect form of limbs may be found in Botticelli’s pictures. Yet he is recognised as one of the greatest draughtsmen: he gave to ‘line’ not only intrinsic beauty, but also significance. In mathematical language, he resolved the movement of the figure into its factors, its simplest forms of expression, and then combined these various forms into a pattern which, by its rhythmical and harmonious lines, produces an effect upon our imagination, corresponding to the sentiments of grave and tender poetry that filled the artist himself.
      This power of making every line count in both significance and beauty distinguishes the great master- draughtsmen from the vast majority of artists who used line mainly as a necessary means of representing concrete objects.

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  Tackling Text [and subtext] - A...

  Barbara Houseman

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  An intensely practical handbook for actors on how to cope with text, subtext, character and situation. Preface by Kenneth Branagh.
  Having helped the actor with basic vocal technique in her enormously successful book, Finding Your Voice, Barbara Houseman here shows the actor how to cope with the demands posed by the text [and the subtext] of the play itself.
  Full of practical exercises developed over many years of working with actors of all ages and experiences, Tackling Text [and subtext] is an indispensable handbook for any actor working with text - from acting students and young professionals, to experienced actors wanting to tackle specific problems and acting coaches wanting to discover new ways of enabling their students.
  'If you want to improve as an actor, read this book... it helps restore the hard work of the actor as fresh, playful and fun' - Kenneth Branagh, from his Preface
  'An inspiring teacher... a hugely motivating force in my work' - Daniel Radcliffe
  'Barbara's work starts with the voice, passes through the physical - and results in a character. Her teaching helps total performance' - Jude Law
  'detailed, down-to-earth, useful... with one of the clearest explanations I've read of iambic pentameter' - The Stage
  'as useful to the experienced actor looking for a lifeline as the beginner wanting tips about the trade' - British Theatre Guide

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  O'Keeffe

  Gerry Souter

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  In 1905 Georgia travelled to Chicago to study painting at the Art Institute of Chicago. In 1907 she enrolled at the Art Students’ League in New York City, where she studied with William Merritt Chase. During her time in New York she became familiar with the 291 Gallery owned by her future husband, photographer Alfred Stieglitz. In 1912, she and her sisters studied at university with Alon Bement, who employed a somewhat revolutionary method in art instruction originally conceived by Arthur Wesley Dow. In Bement’s class, the students did not mechanically copy nature, but instead were taught the principles of design using geometric shapes. They worked at exercises that included dividing a square, working within a circle and placing a rectangle around a drawing, then organising the composition by rearranging, adding or eliminating elements. It sounded dull and to most students it was. But Georgia found that these studies gave art its structure and helped her understand the basics of abstraction. During the 1920s O’Keeffe also produced a huge number of landscapes and botanical studies during annual trips to Lake George. With Stieglitz’s connections in the arts community of New York – from 1923 he organised an O’Keeffe exhibition annually – O’Keeffe’s work received a great deal of attention and commanded high prices. She, however, resented the sexual connotations people attached to her paintings, especially during the 1920s when Freudian theories became a form of what today might be termed “pop psychology”. The legacy she left behind is a unique vision that translates the complexity of nature into simple shapes for us to explore and make our own discoveries. She taught us there is poetry in nature and beauty in geometry. Georgia O’Keeffe’s long lifetime of work shows us new ways to see the world, from her eyes to ours.

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