The Great Festival presents and analyzes two historical festivals - the ancient Dionysus Festival and the present Roskilde Festival. The purpose is to set up two comparable structures or 'codes' to explain the universal artistic effects, structures and fascination of the festival. Olav Harslof argues that there are major structural, organizational and economic similarities which, when exposed, can give us greater insight into today's festivals. This is illuminated through a combined performance design and event analysis of the ancient Dionysus festival and today's Roskilde Festival, explaining the festival's historicity, diversity, complexity and paradigmatic strength. This will be a discussion of great interest to researchers and students in the fields of performance studies, experience economy, theater, music, classical philology and archeology.

Gary Friedman's guides are world-renown for their thoroughness and easy-to-understandableness (that's a word!). De-mystify the menus and use your camera more confidently with this 656-page guide!

In 1966 Jim Allen undertook the first professional excavation of a European site in Australia. The 1840s military settlement of Victoria was established at Port Essington, the northernmost part of the Northern Territory and was the end point of Ludwig Leichhardt's epic journey in 1844-45. This settlement was the longest lived of three failed attempts by the British to establish a settlement on the northern coast of Australia before 1850. Its history reflects many of the dominant themes of wider colonial history - isolation, tropical disease, poorly equipped and inexperienced colonists, inept government bureaucracies and relations with the Indigenous population. By looking at both the material evidence produced by archaeological excavation and the written sources, Allen sought to integrate both sorts of evidence to produce an eclectic history that was neither social nor political nor economic in its primary emphasis, but combined all three. When his research was presented as a doctoral dissertation at the Australian National University in 1969 its main theoretical thrust concerned the problems of this data integration and this remains a central issue in the discipline of historical archaeology in Australasia. Some 40 years on, ASHA's decision to launch its new monograph series by publishing this work has several purposes. At one level this monograph is of historical importance in establishing where the discipline began in this country. It explains both the theoretical and methodological problems Allen faced and how he sought to overcome them. At another level it provides the data from an important excavation that has not been previously published. On a third level it provides a particular sort of historical account of a small but important chapter of Australia's European beginnings that could not have been written without the dual sources of written documents and archaeology. Together they reflect a poignant episode in our past. In the decade following this work Port Essington became the subject of a four part ABC-TV drama, a musical composition by Peter Sculthorpe and paintings by Russell Drysdale. Port Essington will appeal as a reference book to both students and practitioners of historical archaeology and to people interested in Australian colonial history.

This book is based on real life experiences and fictional imaginative visions of the author. These poems reflect the mind of a young adult growing up in many different aspects of life. There are poems of pain, love, sorrow, ambition, race and many other factors that makeup the author's thinking process. "As a writer, one's thoughts an beliefs change overtime, tomorrow the way I see things will change but that's how evolution occurs. Some poems are a documentation of those changes, and as my mindset enhances, so does its thoughts upon which it sits over time."

A brilliant collection of personal, meditative and investigative essays on all that we lose in a virtual world; a joyous book about the nature, grace and importance of everyday, face-to-face human interactions.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Kenneth Fly went from town living to the life of a farm boy during the 1940s, 1950s, and early 1960s. It was a life of hard work without luxury. Instead of watching television and playing video games, he grew up working in the fields of North Carolina, handling firearms, operating machinery, and participating in other activities and tasks that are foreign to the youngsters, youth, and even men of today. In this series of personal narratives and anecdotes, Fly recalls those days with detail and humor. Life wasn't always easy, but his mother did whatever was necessary to make a good home and loving environment for her family. His dad was a hardworking master carpenter whose behavior showed anyone watching that life is about morals, hard work, and self-respect. The Fly family is special because they so rarely complained and always managed to stay happy. For them, life wasn't fancy, but relying on common sense and each other made it sweet.

Career Suicide is about the realities of working in the contemporary art world for most professional artists, the thousands of unfashionable, little-known and underpaid ones who have to do all manner of unfashionable, little-known and underpaid things to survive. It will also answer some of the questions that outsiders often ask about contemporary art, and some that they don't: Why do some artists spend their whole careers doing stupid stuff like mutilating mannequins or painting old bits of wood with baffling phrases? Why does everyone in the art world get paid, apart from the artists? Why do most art students spend years doing their MA, closely followed by them doing sweet FA? Who are the HoWiAs, and what the hell do they think they're doing? How and why did a bunch of paintings that looked like vandalised portraits of SpongeBob get taken so seriously at an international art fair?