It ultimately challenges the cultural assumptions of both conservatives and traditional liberals. 47 photographs.

    They removed military draft records, took them outside, and set them afire with napalm. The Catholic activists involved in this protest against the war included Daniel and Philip Berrigan; all were found guilty of destroying government property and sentenced to three years in jail. Dan Berrigan fled but later turned himself in.The Trial of the Catonsville Nine became a powerful expression of the conflicts between conscience and conduct, power and justice, law and morality. Drawing on court transcripts, Berrigan wrote a dramatic accountof the trial and the issues it so vividly embodied. The result is a landmark work of art that has been performed frequently over the past thirty-five years, both as a piece of theater and a motion picture.

    Some of these characters remain friends, others are like ex–lovers with whom we no longer have anything in common. All of them bring something out in us that will never go back in the box.’ In a varied and distinguished career, Harriet Walter has played almost all of Shakespeare’s heroines, notably Ophelia, Helena, Portia, Viola, Imogen, Lady Macbeth, Beatrice and Cleopatra, mostly for the Royal Shakespeare Company. But where, she asks, does an actress go after playing Cleopatra’s magnificent death? Why didn’t Shakespeare write more – and more powerful – roles for mature women? For Walter, the solution was to ignore the dictates of centuries of tradition, and to begin playing the mature male characters. Her Brutus in an all–female Julius Caesar at the Donmar Warehouse was widely acclaimed, and was soon followed by Henry IV. What, she asks, can an actress bring to these roles – and is there any fundamental difference in the way they must be played? In Brutus and Other Heroines, Walter discusses each of these roles – both male and female – from the inside, explaining the particular choices she made in preparing and performing each character. Her extraordinarily perceptive and intimate accounts illuminate each play as a whole, offering a treasure trove of valuable insights for theatregoers, scholars and anyone interested in how the plays work on stage. Aspiring actors, too, will discover the many possibilities open to them in playing these magnificent roles. The book is an exploration of the Shakespearean canon through the eyes of a self-identified ‘feminist actor’ – but, above all, a remarkable account of an acting career unconstrained by tradition or expectations. It concludes with an affectionate rebuke to her beloved Will: ‘I cannot imagine a world without you. I just wish you had put more women at the centre of your world/stage… I would love you to come back and do some rewrites.’

    Margot Adler attended ritual gatherings and interviewed a diverse, colorful gallery of people across the United States, people who find inspiration in ancient deities, nature, myth, even science fiction. In this new edition featuring an updated resource guide of newsletters, journals, books, groups, and festivals, Margot Adler takes a fascinating and honest look at the religious experiences, beliefs, and lifestyles of modern America's Pagan groups.

    . . within seconds, flaming gasoline was pouring out, burning white and orange . . .”“We shot at the Russian tanks when they came out of the dust cloud . . . the T34 exploded like a rotten fruit . . . engine, turret and deck all going in different directions, with the crew torn apart likewise . . .”Told by the men who fought in the tanks, with all the searing aggression and violence that they experienced . . . these are the shocking first-hand stories of the SS panzer troops themselves. The crews of the Panzer IV, the Stug, the Panther, Jagdtiger, Tiger and King Tiger . . . the authentic voices of the gunners, commanders and drivers who fought some of the deadliest battles in human history.In 1962, German researchers conducted a series of interviews with former members of the Waffen SS panzer troops who had fought in World War 2. The intention was to probe the SS veterans' motivations and psychology, but the men were unwilling to discuss these matters in depth. They were prepared, however, to describe their combat experiences - and they gave astonishing accounts of tank battles in Operation Barbarossa, Normandy, Italy, the Russian Front, the massive conflict at Kursk, the Ardennes and during the final apocalyptic battles against the Soviets within the Reich and for Berlin itself. These were men whose memories of battle were still vivid, and they were ready to relate the physical details of combat – the violent sights, sounds, and sensations of tank fighting, the weapons and tactics that they used, their triumphs and humiliations. Told in ice-cold, clinical detail, with phenomenal drama and sense of crisis, these first-hand accounts stand out today as one of the most remarkable testimonies to the experience of tank warfare in WW2. They will fascinate anyone interested in tank combat, the Waffen SS and the use of armor from 1941 to 1945.This book has the complete set of interviews from Books 1 and 2, with accounts of tank battles in:Operation Barbarossa (Panzer IV) Onslaught in the East (Stug III) Kursk (Tiger I)Italy (Elefant and Panther)Normandy (Panther)The Ardennes (Jagdtiger)Prussia (Stug IV)Berlin (King Tiger and Wirbelwind)A unique and shocking insight into panzer warfare in all its horrors.

      As the nation’s iconic calendar, the 2020 edition will forecast cultural, culinary, and other life-changing trends; preview notable astronomical events; provide time- and money-saving tips for gardeners of all varieties; set the hook for best fishing days; forecast traditionally 80 percent–accurate weather; and cover a range of related topics, including anniversaries, folklore, husbandry, home remedies, recipes, amusement, contests, and more—too much more to mention—all in the inimitable way it has done since 1792.

      It details her historic journey to American Samoa, taken where she was just twenty-three, where she did her first fieldwork.  Here, for the first time, she presented to the public the idea that the individual experience of developmental stages could be shaped by cultural demands and expectations.  Adolescence, she wrote, might be more or less stormy, and sexual development more or less problematic in different cultures.  The "civilized" world, she taught us had much to learn from the "primitive."  Now this groundbreaking, beautifully written work as been reissued for the centennial of her birth, featuring introductions by Mary Pipher and by Mead's daughter, Mary Catherine Bateson.

    "An important text in the rethinking of sexuality and sexual politics spurred by the feminist and gay liberation movements".--Margaret Cerullo, Hampshire College.

    Issued in tandem with Kitty, the revealing autobiography of his wife, Kitty Carlisle Hart, Act One, is a landmark memoir that influenced a generation of theatergoers, dramatists, and general book readers everywhere. The book eloquently chronicles Moss Hart's impoverished childhood in the Bronx and Brooklyn and his long, determined struggle to his first theatrical Broadway success, Once in a Lifetime. One of the most celebrated American theater books of the twentieth centure and a glorious memorial to a bygone age, Act One if filled with all the wonder, drama, and heartbreak that surrounded Broadway in the 1920s and the years before World War II.

    Rockwell senior, who said he depicted life “as I would like it to be,” chronicled iconic visions of American life: the Thanksgiving turkey, soda fountains, ice skating on the pond, and small-town boys playing baseball-not to mention the beginning of the civil rights movement. Now, the best-selling collection of Rockwell’s most beloved illustrations, organized by decade, is available in a refreshed edition. With more than 150 images-oil paintings, watercolors, and rare black-and-white sketches--this is an uncommonly faithful Rockwell treasury. The original edition has sold nearly 200,000 copies.

    They had the East End buttoned up too tight and someone had to undo it. Slowly, I realised that someone had to be me...' Bobby Teale and his brothers, David and Alfie, were the three men the Kray twins trusted most. They weren't in the Firm, they were closer than that. They were old family friends, confidants, companions... But then things changed. Witnessing Ronnie and Reggie become increasingly psychotic - taking murder, torture and rape to sickening new levels - Bobby knew he had to take action. Unknown to his brothers, he became a police informer; risking not just his own life but those of the people dearest to him too. Using the codename 'Phillips', he was forced to live on his wits, feeding back information to Scotland Yard. With bent cops on their side the Krays knew they had a grass in their midst, but before they could flush him out, Bobby's evidence saw the London gangsters get locked up for life. Bobby fled the country, but now 40 years on he's back. And he wants to set the record straight. With the help of his brothers, the man brave enough to stand up to the Krays has rewritten history as we know it; dispelling the myths and tearing apart the gangsters' glamorous veneer to reveal the true, sadistic nature of Ronnie and Reggie. Crammed full of explosive, new revelations, Bringing Down The Krays is the last great untold story of Britain's most infamous crime family.

    A unique guided tour of the techniques of acting.

    Deconstructionists, poststructuralists, postmodernists, second-wave feminists, new historicists, cultural materialists, postcolonialists, black critics and queer theorists, among a host of others, all vie for our attention. Stuart Sim and Borin Van Loon's incisive graphic guide provides a route through the tangled jungle of competing ideas and provides an essential historical context, situating these theories within tradition of critical analysis going back to the rise of Marxism. They present the essential methods and objectives of each theoretical school in an incisive and accessible manner, and pay special attention to recurrent themes and concerns that have preoccupied a century of critical theoretical activity.

    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.

    This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.