When she receives the white rose bouquet from Lucas, Divine Anderson feels like she is bathing in an ocean of happiness. Pleased, she goes to his office in order to go out for having lunch. While waiting for him, what does she see? A portrait? A portrait of Lucas and a woman...His wife? By God, Lucas is married?! And what`s this resemblance between that woman and her?Broken hearted, Divine rushes out the office. When getting there, Lucas notices the portrait`s position changed. Damn it! He forgot about it!She leaves to Alaska, but will this be enough for her to forget the man she loves?And Charlie, Lucas`s best friend, what is his hidden agenda? Why does he want to secretly revenge over Lucas and see him destroyed...?

Covering fifty years of British dance, from Margot Fonteyn to innovative contemporary practitioners such as Wendy Houstoun and Nigel Charnock, Yes? No! Maybe is an innovative approach to performing and watching dance. Emilyn Claid brings her life experience and interweaves it with academic theory and historical narrative to create a dynamic approach to dance writing. Using the 1970s revolution of new dance as a hinge, Claid looks back to ballet and forward to British independent dance which is new dance’s legacy. She explores the shifts in performer-spectator relationships, and investigates questions of subjectivity, absence and presence, identity, gender, race and desire using psychoanalytical, feminist, postmodern, post-structuralist and queer theoretical perspectives. Artists and practitioners, professional performers, teachers, choreographers and theatre-goers will all find this book an informative and insightful read.

During the phony war that preceded the invasion of France, between late 1939 and the summer of 1940, the young Jean-Paul Sartre was stationed in his native Alsace as part of a meteorological unit. He used his considerable periods of spare time, between mundane duties like watching weather balloons, to make a series of notes on philosophy, literature, politics, history and autobiography that anticipate the themes of his later masterpieces, and often surpass them in literary verve and directness. These War Diaries form a portrait of Sartre in his most intense and brilliant phase. With them the twentieth century's most remarkable and public philosopher has provided us with a fitting posthumous monument to his honest and creativity.

Reworking the Ballet illuminates the choreographic praxis, the context and the politics of reworkings in the light of counter-canonical discourses as developed within feminism, queer theory and postcolonialism.

Introducing a new hermeneutics, this book explores the correlation between the personal faith of F.M. Dostoevsky (1821-1881) and the religious quality of his texts. In offering the first comprehensive analysis of his ego documents, it demonstrates how faith has methodologically to be defined by the inaccessibility of the 'living person'. This thesis, which draws on the work of M.M. Bakhtin, is further developed by critically examining the reception of Dostoevsky by the two main representatives of early dialectical theology, Karl Barth and Eduard Thurneysen. In the early 1920s, they claimed Dostoevsky as a chief witness to their radical theology of the fully transcendent God. While previously unpublished archive materials demonstrate the theological problems of their static conceptual interpretation, the 'kaleidoscopic' hermeneutics is founded on the awareness that a text offers only a fixed image, whereas living faith is in permanent motion.

A nineteenth century Danish philosopher and theologian, Søren Kierkegaard was a major influence on the development of existentialism and Protestant theology. He attacked the literary, philosophical and ecclesiastical establishments of his day for misrepresenting the highest task of human existence—becoming oneself in an ethical and religious sense. His critical works on organised religion, Christianity, morality, ethics and psychology reveal a fondness for metaphor, irony and parables. Many of his philosophical essays deal with how one lives as a “single individual”, giving priority to concrete human reality over abstract thinking, while highlighting the importance of personal choice. This eBook presents Kierkegaard’s collected works, with numerous illustrations, rare translations, concise introductions and the usual Delphi bonus material. (Version 1) * Beautifully illustrated with images relating to Kierkegaard’s life and works * Concise introductions to the treatises * All the major essays, with individual contents tables * Images of how the books were first published, giving your eReader a taste of the original texts * Excellent formatting of the texts * Rare translations by David F. Swenson, Lillian Marvin Swenson and Walter Lowrie, digitised here for the first time * Includes the seminal autobiography– available in no other collection * Features a bonus biography – discover Kierkegaard’s intriguing life * Ordering of texts into chronological order and genres CONTENTS: The Books Either/Or (1843) Fear and Trembling (1843) Repetition (1843) Upbuilding Discourses (1844) Philosophical Fragments (1844) The Concept of Dread (1844) Three Discourses on Imagined Occasions (1845) Stages on Life’s Way (1845) Works of Love (1847) Christian Discourses (1848) The Lilies of the Field and the Birds of the Air (1849) Three Discourses at the Communion on Fridays (1849) The Sickness unto Death (1849) Selections from the Writings of Kierkegaard (1923) The Autobiography The Point of View for my Work as an Author (1851) The Biography Introduction to Kierkegaard (1923) by Lee M. Hollander

From its beginnings as an alternative and dissident form of dance training in the 1960s, Somatics emerged at the end of the twentieth century as one of the most popular and widespread regimens used to educate dancers. It is now found in dance curricula worldwide, helping to shape the look and sensibilities of both dancers and choreographers and thereby influencing much of the dance we see onstage worldwide. One of the first books to examine Somatics in detail and to analyse how and what it teaches in the dance studio, The Natural Body in Somatics Dance Training considers how dancers discover and assimilate new ways of moving and also larger cultural values associated with those movements. The book traces the history of Somatics, and it also details how Somatics developed in different locales, engaging with local politics and dance histories so as to develop a distinctive pedagogy that nonetheless shared fundamental concepts with other national and regional contexts. In so doing it shows how dance training can inculcate an embodied politics by guiding and shaping the experience of bodily sensation, constructing forms of reflexive evaluation of bodily action, and summoning bodies into relationship with one another. Throughout, the author focuses on the concept of the natural body and the importance of a natural way of moving as central to the claims that Somatics makes concerning its efficacy and legitimacy.