They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objects are all stolen.Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of Benin City, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections.The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.

    It is at once the voicing of her exacting standards for herself and those she teaches, and an explanation of the means to the end. For those unable to avail themselves of her personal tutelage, her book is the best substitute." --Publishers Weekly "Uta Hagen's Respect for Acting is not only pitched on a high artistic level but it is full of homely, practical information by a superb craftswoman. crafts-woman. An illuminating discussion of the standards and techniques of enlightened stage acting." --Brooks Atkinson"Hagen adds to the large corpus of titles on acting with vivid dicta drawn from experience, skill, and a sense of personal and professional worth. Her principal asset in this treatment is her truly significant imagination. Her 'object exercises' display a wealth of detail with which to stimulate the student preparing a scene for presentation." --Library Journal"Respect for Acting is a simple, lucid and sympathetic statement of actors' problems in the theatre and basic tenets for their training wrought from the personal experience of a fine actress and teacher of acting." --Harold Clurman"Uta Hagen's Respect for Acting...is a relatively small book. But within it Miss Hagen tells the young actor about as much as can be conveyed in print of his craft." --Los Angeles Times"Uta Hagen is our greatest living actor; she is, moreover, interested and mystified by the presence of talent and its workings; her third gift is a passion to communicate the mysteries of the craft to which she has given her life. There are almost no American actors uninfluenced by her." --Fritz Weaver"This is a textbook for aspiring actors, but working thespians can profit much by it. Anyone with just a casual interest in the theater should also enjoy its behind-the-scenes flavor. Respect for Acting is certainly a special book, perhaps for a limited readership, but of its "How-To" kind I'd give it four curtain calls, and two hollers of "Author, Author --King Features Syndicate

    Night Shyamalan has long had a serious interest in education. The founda­tion he and his wife started once gave college scholarships to promising inner-city students, but Shyamalan realized that these scholarships did nothing to improve education for all the other students in under-performing schools. When he learned that some schools were succeeding with similar student populations, he traveled across the country to find out how they did this and whether these schools had something in common. He eventually learned that there are five keys to closing America’s achievement gap. But just as we must do several things to maintain good health— eat the right foods, exercise regularly, get a good night’s sleep—so too must we use all five keys to turn around our lowest-performing schools. These five keys are used by all the schools that are succeeding, and no schools are succeeding without them. Before he discovered them, Shyamalan investigated some popular reform ideas that proved to be dead ends, such as smaller class size, truculent unions, and merit pay for teachers. He found that the biggest obstacle to school reform is cognitive biases: too many would-be reformers have committed themselves to false solutions. This is a deeply personal book by an unbiased observer determined to find out what works and why so that we as a nation can fulfill our obliga­tion to give every student an opportunity for a good education.

    First published in 1974, it has remained the classic text on a significant form of music making and composing that developed alongside, and partly in opposition to, the postwar modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed toward concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass. This second edition contains a new Foreword, an updated discography, and a historical overview by the author.

    Members of bands like the Byrds, the Doors, Buffalo Springfield, the Monkees, the Beach Boys, the Turtles, the Eagles, the Flying Burrito Brothers, Frank Zappa and the Mothers of Invention, Steppenwolf, CSN, Three Dog Night and Love, along with other singer/songwriters as Joni Mitchell, Judy Collins, James Taylor and Carole King, lived together and jammed together in the bucolic community nestled in the Hollywood Hills.But there was a dark side to that scene as well.Many didn't make it out alive, and many deaths remain shrouded in mystery to this day. Far more integrated into the scene than most would like to admit was a guy by the name of Charles Manson, along with his murderous entourage. Also floating about the periphery were various political operatives, up-and-coming politicians and intelligence personnel—the same sort of people who gave birth to many of the rock stars populating the canyon. And all the canyon's colorful characters—rock stars, hippies, murderers and politicos—happily coexisted alongside a covert military installation.Weird Scenes Inside the Canyon is the very strange, but nevertheless true story of the dark underbelly of a hippie utopia.

    Really big. You just won't believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it's a long way down the street to the chemist, but that's just peanuts to space.' Douglas Adams, Hitch-hiker's Guide to the GalaxyWe human beings have trouble with infinity - yet infinity is a surprisingly human subject. Philosophers and mathematicians have gone mad contemplating its nature and complexity - yet it is a concept routinely used by schoolchildren. Exploring the infinite is a journey into paradox. Here is a quantity that turns arithmetic on its head, making it feasible that 1 = 0. Here is a concept that enables us to cram as many extra guests as we like into an already full hotel. Most bizarrely of all, it is quite easy to show that there must be something bigger than infinity - when it surely should be the biggest thing that could possibly be. Brian Clegg takes us on a fascinating tour of that borderland between the extremely large and the ultimate that takes us from Archimedes, counting the grains of sand that would fill the universe, to the latest theories on the physical reality of the infinite. Full of unexpected delights, whether St Augustine contemplating the nature of creation, Newton and Leibniz battling over ownership of calculus, or Cantor struggling to publicise his vision of the transfinite, infinity's fascination is in the way it brings together the everyday and the extraordinary, prosaic daily life and the esoteric.Whether your interest in infinity is mathematical, philosophical, spiritual or just plain curious, this accessible book offers a stimulating and entertaining read.

    Schools filled with black and brown students have become plantations of social control, where the policing of behavior trumps the expanding of minds. Radical teachers and organizers in American public schools must help young people fashion an insurgency. That means, at the very least, seeing each student’s rebellion not as violation, but as communication.Jay Gillen writes with passion and compassion about the daily lives of poor students trapped in institutions that dismiss and degrade them. In the spirit of Paulo Freire, and using the historical models of slave rebellions and Civil Rights struggles as guides, Gillen explains what sort of insurgency is needed and how to create it: the tools and techniques required to build social, intellectual, and political power.This poetic manifesto of revolutionary “educational reform” belongs in the pocket of anyone who currently works in, suffers through, or simply cares about public schooling in this country.Jay Gillen teaches English in a Baltimore public school and has worked with the Baltimore Algebra Project since 1995, building math literacy among youth of color and youth experiencing poverty in US public schools.Bob Moses is an educator and Civil Rights activist. He founded the Algebra Project in 1982.In Oakland, California on March 24, 2015 a fire destroyed the AK Press warehouse along with several other businesses. Please consider visiting the AK Press website to learn more about the fundraiser to help them and their neighbors.

    We’ll look at how gender has been ‘done’ differently – from patriarchal societies to trans communities – and how it has been viewed differently – from biological arguments for sex difference to cultural arguments about received gender norms. We’ll dive into complex and shifting ideas about masculinity and femininity, look at non-binary, trans and fluid genders, and examine the intersection of experiences of gender with people’s race, sexuality, class, disability and more.Tackling current debates and tensions, which can divide communities and even cost lives, we’ll look to the past and the future to ask how might we approach gender differently, in more socially constructive, caring ways.

    This witty and allusive book, in the style of classic film theorists/critics like André Bazin and Siegfried Kracauer, includes considerations of global cinema’s most important figures and films, from Lars von Trier and Zia Jiangke to WALL-E, Avatar and Inception.

    It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

    She is arguably the most important teacher of acting in American history. Over her long career, both in New York and Hollywood, she offered her vast acting knowledge to generations of actors, including Marlon Brando, Warren Beatty, and Robert De Niro. The great voice finally ended in the early Nineties, but her decades of experience and teaching have been brilliantly caught and encapsulated by Howard Kissel in the twenty-two lessons in this book.

    The text is full of tools for students and practitioners to use as they investigate plot, character, theme, exposition, imagery, motivation/obstacle/conflict, theatricality, and the other crucial parts of the superstructure of a play. He includes guides for discovering what the playwright considers the play’s most important elements, thus permitting interpretation based on the foundation of the play rather than its details.Using Hamlet as illustration, Ball assures a familiar base for illustrating script-reading techniques as well as examples of the kinds of misinterpretation readers can fall prey to by ignoring the craft of the playwright. Of immense utility to those who want to put plays on the stage (actors, directors, designers, production specialists) Backwards and Forwards is also a fine playwriting manual because the structures it describes are the primary tools of the playwright.

    

    Presenting ideas that spark imaginations, these books help students to gain background knowledge on great literature useful for papers and exams. The goal of each study is to encourage creative thinking by presenting engaging information about each work and its author. This approach allows students to arrive at sound analyses of their own, based on in-depth studies of popular literature.Each volume:-- Illuminates themes and concepts of a classic text-- Uses clear, conversational language-- Is an accessible, manageable length from 140 to 170 pages-- Includes a chronology of the author's life and era-- Provides an overview of the historical context-- Offers a summary of its critical reception-- Lists primary and secondary sources and index