In the beginning, the Boston Bruins were a rough tribe of Canadian tradesmen seeking their fortune with the first American team in the fledgling National Hockey League. When the Bruins played their first game in 1924, hockey was already a staple of the Boston sports scene. It was the prospect of attracting the capacity crowds that supported Boston's local club and college teams that lured Charles F. Adams to invest in the franchise. The Bruins were both an outgrowth of local tradition and a manifestation of the ambitions of the NHL. Their roster has included the likes of Eddie Shore, "Dit" Clapper, and the greatest player of all time, Bobby Orr. The photographs in The Bruins in Black and White: 1924-1966, the first of a two-volume illustrated history, document the success of Charles F. Adams's investment and the achievements of players who proudly wore the Bruins colors. Their passion, commitment, and love of the game are evident on every page.

The Spanish Civil War (1936-1939) pitted conservative forces including the army, the Church, the Falange (fascist party), landowners, and industrial capitalists against the Republic, installed in 1931 and supported by intellectuals, the petite bourgeoisie, many campesinos (farm laborers), and the urban proletariat. Provoking heated passions on both sides, the Civil War soon became an international phenomenon that inspired a number of literary works reflecting the impact of the war on foreign and national writers. While the literature of the period has been the subject of scholarship, women's literary production has not been studied as a body of work in the same way that literature by men has been, and its unique features have not been examined. Addressing this lacuna in literary studies, this volume provides fresh perspectives on well-known women writers, as well as less studied ones, whose works take the Spanish Civil War as a theme. The authors represented in this collection reflect a wide range of political positions. Writers such as Maria Zambrano, Merce Rodoreda, and Josefina Aldecoa were clearly aligned with the Republic, whereas others, including Mercedes Salisachs and Liberata Masoliver, sympathized with the Nationalists. Most, however, are situated in a more ambiguous political space, although the ethics and character portraits that emerge in their works might suggest Republican sympathies. Taken together, the essays are an important contribution to scholarship on literature inspired by this pivotal point in Spanish history.

The Spanish Civil War (1936-1939) pitted conservative forces including the army, the Church, the Falange (fascist party), landowners, and industrial capitalists against the Republic, installed in 1931 and supported by intellectuals, the petite bourgeoisie, many campesinos (farm laborers), and the urban proletariat. Provoking heated passions on both sides, the Civil War soon became an international phenomenon that inspired a number of literary works reflecting the impact of the war on foreign and national writers. While the literature of the period has been the subject of scholarship, women's literary production has not been studied as a body of work in the same way that literature by men has been, and its unique features have not been examined. Addressing this lacuna in literary studies, this volume provides fresh perspectives on well-known women writers, as well as less studied ones, whose works take the Spanish Civil War as a theme. The authors represented in this collection reflect a wide range of political positions. Writers such as Maria Zambrano, Merce Rodoreda, and Josefina Aldecoa were clearly aligned with the Republic, whereas others, including Mercedes Salisachs and Liberata Masoliver, sympathized with the Nationalists. Most, however, are situated in a more ambiguous political space, although the ethics and character portraits that emerge in their works might suggest Republican sympathies. Taken together, the essays are an important contribution to scholarship on literature inspired by this pivotal point in Spanish history.

Presenting an original and vital model for psychological development, the brilliant and pioneering author of He, She, and We offers a new understanding of the stages of personal growth through which maturity and wholeness can be achieved.

Using quintessential figures from classical literature--Don Quixote, Hamlet, and Faust--Robert Johnson shows us three clearly defined stages of consciousness development. He demonstrates how the true work of maturity is to grow through these levels to the self-realized state of completion and harmony.

In Johnson's view, we all reach the stages depicted by Don Quixote, Hamlet, and Faust at various times of our lives. The three represent levels of consciousness within us, each vying for dominance. Don Quixote portrays the innocent child, while Hamlet stands for our self-conscious need to act and feel in control though we have no real connection to our inner selves. Faust embodies the master of the true self, who has gained awareness by working through the stages.

Provides an illuminating explanation of the origins and meaning of romantic love and shows how a proper understanding of its psychological dynamics can revitalize our most important relationships.

A revised edition of a landmark work of psychology; the author uses the ancient myth of Amor and Psyche as the springboard for a brilliant, perceptive exploration of how one becomes a mature and complete woman.

Offering a fresh, revisionist analysis of Spanish fiction from 1900 to 1940, this study examines the work of both men and women writers and how they practiced differing forms of modernism. As Roberta Johnson notes, Spanish male novelists emphasized technical and verbal innovation in representing the contents of an individual consciousness and thus were more modernist in the usual understanding of the term. Female writers, on the other hand, were less aesthetically innovative but engaged in a social modernism that focused on domestic issues, gender roles, and relations between the sexes. Compared to the more conventional--even reactionary--ways their male counterparts treated such matters, Spanish women's fiction in the first half of the twentieth century was often revolutionary.

The book begins by tracing the history of public discourse on gender from the 1890s through the 1930s, a discourse that included the rise of feminism. Each chapter then analyzes works by female and male novelists that address key issues related to gender and nationalism: the concept of intrahistoria, or an essential Spanish soul; modernist uses of figures from the Spanish literary tradition, notably Don Quixote and Don Juan; biological theories of gender prevalent in the 1920s and 1930s; and the growth of an organized feminist movement that coincided with the burgeoning Republican movement.

This is the first book dealing with this period of Spanish literature to consider women novelists, such as Maria Martinez Sierra, Carmen de Burgos, and Concha Espina, alongside canonical male novelists, including Miguel de Unamuno, Ramon del Valle-Inclan, and Pio Baroja. With its contrasting conceptions of modernism, Johnson's work provides a compelling new model for bridging the gender divide in the study of Spanish fiction.

Offering a fresh, revisionist analysis of Spanish fiction from 1900 to 1940, this study examines the work of both men and women writers and how they practiced differing forms of modernism. As Roberta Johnson notes, Spanish male novelists emphasized technical and verbal innovation in representing the contents of an individual consciousness and thus were more modernist in the usual understanding of the term. Female writers, on the other hand, were less aesthetically innovative but engaged in a social modernism that focused on domestic issues, gender roles, and relations between the sexes. Compared to the more conventional--even reactionary--ways their male counterparts treated such matters, Spanish women's fiction in the first half of the twentieth century was often revolutionary.

The book begins by tracing the history of public discourse on gender from the 1890s through the 1930s, a discourse that included the rise of feminism. Each chapter then analyzes works by female and male novelists that address key issues related to gender and nationalism: the concept of intrahistoria, or an essential Spanish soul; modernist uses of figures from the Spanish literary tradition, notably Don Quixote and Don Juan; biological theories of gender prevalent in the 1920s and 1930s; and the growth of an organized feminist movement that coincided with the burgeoning Republican movement.

This is the first book dealing with this period of Spanish literature to consider women novelists, such as Maria Martinez Sierra, Carmen de Burgos, and Concha Espina, alongside canonical male novelists, including Miguel de Unamuno, Ramon del Valle-Inclan, and Pio Baroja. With its contrasting conceptions of modernism, Johnson's work provides a compelling new model for bridging the gender divide in the study of Spanish fiction.

Michael Green, a high-end fashion salesman with an overprotective mother who wants no other woman to come between her and her son. Michael meets Jazmyn, an up and coming fashion model and single mother with a secret she does not speak about nor wants to confront. Complications arise when that very secret threatens not only their newfound relationship but his life. Should he fight for the woman he has grown to love or walk away and leave the situation as a life lesson learned?

Michael Green is a high-end fashion salesman with an overprotective mother who wants no other woman to come between her and her son. Michael meets Jazmyn, an up and coming fashion model and single mother, with a secret she does not speak about nor wants to confront. Complications arise when that very secret threatens not only their newfound relationship but his life. Should he fight for the woman he has grown to love or walk away and leave the situation as a life lesson learned?