In the darkness of the early morning of 3 March 1949, practically all of the Transylvanian aristocracy were arrested in their beds and loaded on to lorries. The same day the Romanian Workers Party was pleased to announce the successful deportation and dispossession of all large landowners. Communism demanded the destruction of these ultimate class enemies. To record this unknown episode of recent history, Jaap Scholten traveled extensively in Romania and Hungary and sought out the few remaining aristocrats who experienced the night of 3 March 1949. He spoke to people who survived the Romanian Gulag and met the younger generation of the once distinguished aristocracy to talk about the restitution of assets and about the future. How is it possible to rebuild anything in a country that finds itself in a moral vacuum?

Deluxe edition. In the darkness of the early morning of 3 March 1949, practically all of the Transylvanian aristocracy were arrested in their beds and loaded into lorries. Under the terror of Gheorghiu-Dej and later Ceauescu the aristocracy led a double life: during the day they worked in quarries, steelworks and carpenters' yards; in the evening they secretly gathered and maintained the rituals of an older world. To record this episode of recent history, Jaap Scholten travelled extensively in Romania and Hungary and sought out the few remaining aristocrats who survived communism and met the youngest generation of the once distinguished aristocracy to talk about the restitution of assets and about the future.

"Memoir of Chaim Leib Weinberg, prominent member of the late 19th and early 20th century Philadelphia Jewish anarchist community, translated from the original Yiddish"--Provided by publisher.

Exploring the experiences of early to mid-twentieth century British theatre-makers in Russia, this book imagines how these travellers interpreted Russian realism, symbolism, constructivism, agitprop, pageantry, dance or cinema. With some searching for an alternative to the corporate West End, some for experimental techniques and others still for methods that might politically inspire their audiences, did these journeys make any differences to their practice? And how did distinctly Russian techniques affect British theatre history? Migrating Modernist Performance seeks to answer these questions, reimagining the experiences and creative output of a range of, often under-researched, practitioners. What emerges is a dynamic collection of performances that bridge geographical, aesthetic, chronological and political divides.

'We want you to go to hell, Miss Thomas.' For five million bucks Ella is prepared to give even hell - or in this case, the Demi-Monde - a shot. And all she has to do to earn it is find the President's daughter and lead her to safety. But as Ella discovers, getting into the Demi-Monde is the easy part; surviving to collect her money is quite another. With thirty million digital-Duplicates at war in the cyber-killing field that is the US Military's virtual-training ground, the Demi-Monde is a challenging place - especially as the Dupes are programmed with a craving for blood and are led by some of history's most vicious tyrants. And the many bizarre conceits in the Demi-Monde have a sinister reason behind them. In the Demi-Monde Ella can trust nothing and nobody . . . not even herself.