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From artworks and chairs to architecture, landscaping and interior
design, Michael Boyd's devotion to the principles of modernism is
comprehensive. An artist and musician, he acquired his expertise as
a collector, surrounding himself with rare and beautiful finds. His
immersion in the philosophy and creativity of the masters inspired
him to restore a succession of classic modern houses, curate
exhibitions, create a versatile range of furniture and rugs, and
design sculptural gardens. Millennium Modern: Living in Design
details his work across the first two decades of the new millennium
and reflects his belief that the tenets of modernism - honesty and
simplicity - developed more than a century ago, are equally
relevant to our pluralistic age. In contrast to the pioneers who
wanted to do away with the past, his creations are deeply rooted in
the history of design. Essays by Boyd and architectural writer
Michael Webb, along with comments from collaborators and critics,
explore each facet of his residential design. This beautifully
illustrated volume reveals Boyd's holistic design practice from his
discovery of design classics in flea markets, to his own furniture
designs, which feature in residential interiors, hotels and
museums, through to his sensitive restoration of the houses by Paul
Rudolph and Oscar Niemeyer, Richard Neutra and Craig Ellwood, and
the sculptural landscapes he designed to enhance these residences,
as well as masterpieces by John Lautner.
Craig Ellwood, the Cary Grant of architecture, was one of the most
visible faces of California mid-century modernism. He was known as
much for his exquisitely designed, minimalist structures as he was
for his exuberant lifestyle. This book celebrates and explores the
glamour of Ellwood s work, life, myth, and career. Through
photographs, primarily of the iconic houses he designed in Southern
California during the 1950s and 60s, we see a life of refined
decadence, expressed through gorgeous architecture, fast cars,
beautiful women, Hollywood style, palm trees, swimming pools, and
minimalist design all in the context of the Southern California
postwar building boom. This volume will appeal to design junkies,
architecture buffs, students of modernism, and anyone interested in
problem-solving and elegant solutions.
The Settlement at Dhaskalio is the first volume in the series The
Sanctuary on Keros: Excavations at Dhaskalio and Dhaskalio Kavos,
2006-2008, edited by Colin Renfrew, Olga Philaniotou, Neil Brodie,
Giorgos Gavalas and Michael Boyd. Here the findings are presented
from the well-stratified settlement of Dhaskalio, today an islet
near the Cycladic island of Keros, Greece. A series of radiocarbon
dates situates the duration of the settlement from around 2750 to
2300 BC. The volume begins with a discussion of the geological
setting of Keros and of sea-level change, concluding that Dhaskalio
was in the third millennium BC linked to Keros by a narrow
causeway. The excavation and finds (excluding the pottery,
discussed in later volumes) are fully documented, with
consideration of stratigraphy, geomorphology, organic remains, and
the evidence for metallurgy. It is concluded that there was a small
permanent population of around 20, increased periodically by up to
400 visitors who would have participated in the rituals of
deposition occurring at the Sanctuary at Kavos, situated opposite,
on Keros itself, for which the detailed evidence (including
abundant fragmented pottery, marble vessels and sculptures) will be
presented in Volumes II and III.
Encountering Ensemble, is a text for students, teachers,
researchers and practitioners who wish to develop a deeper
understanding of the history, conceptual foundations and
practicalities of the world of ensemble theatre. It is the first
book to draw together definitions and practitioner examples, making
it a cutting edge work on the subject. Encountering Ensemble
combines historical and contemporary case studies with a wide range
of approaches and perspectives. It is written collaboratively with
practitioners and members from the academic community and is
divided into three sections: 1. Introduction and an approach to
training ensembles 2. Practitioner case studies and analysis of
specific practical approaches to training ensembles (or individuals
in an ensemble context) 3. Succinct perspectives from practitioners
reflecting on a range of questions including: What is an ensemble?;
the place of ensemble in the contemporary theatre landscape; and
training issues.
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Troy (Paperback)
Michael Boyd Hone
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R420
Discovery Miles 4 200
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Ships in 10 - 15 working days
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Homer's masterpiece is the story of the last year of the
cataclysmic war. Michael Hone's TROY is an adventure whose odyssey
spans from the genesis of the catastrophe to the eventual return of
the survivors, a tale recounted by Zeus to his favorite son,
Hermes. ''Was there ever a time when men and gods were the same,
Father?'' ''No, but there was a time when the lives of men and gods
mingled so closely that I suppose you could say they were the
same." ''When was this, Father?'' "Ago, Son." "Was that the Time of
the Heroes, Father? Of Agamemnon and Achilles, Paris and the Fair
Helen? Priam and Calchas?'' "Oh, Calchas could hardly be counted
among the heroes." Zeus placed his hand on his son's shoulder. The
sapling would become an oak, he knew. The moment would come when
Hermes would have to be told the truths that weighed on Zeus'
heart, the knowledge of which would mark the end of his boyhood. He
would have to he told of acts of dishonor, in hopes that he would
grow above committing such acts himself. Perhaps the telling would
lighten Father's burden, and dissipate the bloodguilt of his
bungling the lives of Cassandra and Hecabe and little Troilus,
guilt he would never admit to another being, be he alive or dead,
Mortal or Immortal. ''But yes, that was the Time." ''And not Since,
Father?'' ''No. They and we came to the conclusion that it was best
for us to go our own separate ways, and respect what Destiny
decided to be our mutual lots.'' ''Would you speak of that time,
Father?'' asked Hermes, his open face shining and intelligent. Zeus
had a multitude of sons, sons without number, but a boy has only
one father from whom he learns the ways of men, which are the ways
of the survival of the species. This Zeus knew, and although his
head was heavy with memories best forgotten, he nonetheless nodded
his assent. "I'm going to know about Man Hurrah " cried out Hermes,
and his eyes filled with tears. Zeus took his son to his den,
struck a large fire and ordered the heavens to bring forth snow,
enough to prevent the gods from returning to his palace, enough to
whiten the Earth and through its nacreous purity bring beauty and
peace. Father and Son sat before the fireplace, Wisdom on his
throne, Youth at his feet; and it was thus that Father Zeus told
his beloved son Hermes the story of the Great War for the city of
Troy.
The moving story of Hadrian and Antinous has spanned the ages not
only as the bond of two men's love, but equally as an eternal
mystery as to why a youth forfeited his life to perpetuate that of
his lover. The book is an historical work, as historically correct
as I could make it. Naturally most of the book concerns Hadrian
because we known far more about his life than we do about the
Bithynian Greek youth. There is also a heavy emphasis on the times
in which they lived and the times that preceded them, as they
played indelible roles in the two men's lives: indeed, they molded
them. Hadrian wanted to live forever and felt he possessed the
intellectual and financial means to achieve that goal-perhaps he
even sacrificed the boy he loved to attain that goal. In Hadrian
and Antinous we'll investigate the difference between man-to-man
relations in Rome and pederasty in Athens, and we'll learn why
Antinous drowned and why he become, for the first time in history,
the first boyfriend ever to be deified. Women are essential to our
story but the ancient world was a man's world, as is ours, and
Hadrian and Antinous is, at its base, the story of men and boys who
prefer the world of other men and boys.
Michael Boyd grew up in 1960s New Jersey-an overweight, shy kid who
couldn't seem to find his place. He wasn't interested in the same
things as the other kids in the neighborhood. He had a hard time
making friends, and he was considered unpopular at best. He felt
different because he was different. It just took a long time to
figure it out. Forever the Fat Kid is not a harrowing journey from
fat to fantastic. It is the difficult story of a black youth
wrestling with his sexual identity, while struggling to develop in
the turbulent American 1960s. Boyd's story takes him from Jersey to
the Broadway stage, to major European cities, and even into the
depths of depression ...but in the end, he finds hope. He finds who
he was meant to be. It took years for Michael Boyd to find his way
from fat to thin, shy to outgoing, and unpopular to admired. But he
did eventually find his way, with the help of his art. It would be
hard to picture the fat kid of the 1960s ruling the stage at the
Apollo Theater years later, but it did happen. Through these
experiences, Boyd discovered that coming of age, coming out, and
coming to terms with one's life is a never-ending process.
Michael Boyd grew up in 1960s New Jersey-an overweight, shy kid who
couldn't seem to find his place. He wasn't interested in the same
things as the other kids in the neighborhood. He had a hard time
making friends, and he was considered unpopular at best. He felt
different because he was different. It just took a long time to
figure it out. Forever the Fat Kid is not a harrowing journey from
fat to fantastic. It is the difficult story of a black youth
wrestling with his sexual identity, while struggling to develop in
the turbulent American 1960s. Boyd's story takes him from Jersey to
the Broadway stage, to major European cities, and even into the
depths of depression ...but in the end, he finds hope. He finds who
he was meant to be. It took years for Michael Boyd to find his way
from fat to thin, shy to outgoing, and unpopular to admired. But he
did eventually find his way, with the help of his art. It would be
hard to picture the fat kid of the 1960s ruling the stage at the
Apollo Theater years later, but it did happen. Through these
experiences, Boyd discovered that coming of age, coming out, and
coming to terms with one's life is a never-ending process.
One of the most influential professional groups on the 21st Century
world of work has been the Electrical Engineering Occupation. This
book deals with aspects of power, knowledge, status and technology
as they are found in the American electrical engineering profession
and occupation as it has evolved from the early 1880s through the
1990s. The primary foci of this discussion are the
professionalizing of the American Electrical Engineering
occupation, its quest for status and power, its creation and
stewardship of knowledge, its control of technology, and its
marriage with capitalism and industry. It addresses three questions
of sociological importance: Is the American electrical engineering
group an occupation or a profession; what has been the influence of
technology on the group; and how has the elite leadership of the
group influenced it ?
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Libby (Paperback)
Michael Boyd
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R378
Discovery Miles 3 780
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Ships in 10 - 15 working days
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Best friends Libby Bays and Norma Singer are victims of Emmet
Bays's abuse. Norma allows Libby to lure her into her father's
black Chevrolet sedan, and after dropping his daughter off at their
Main Street home, he drives Norma to an abandoned salvage yard and
rapes her. Best friends suddenly become enemies. Norma, trusting no
one, including her parents, to support and understand what happened
to her, privately blames Libby. She seeks to avenge her role in the
rape before she seeks to bring Emmet Bays to justice. To protect
himself from any rape accusation, he seeds a rumor in Libby that
one of Clarence Singer's Mexican workers raped Norma, and to get
his daughter to help him spread it, Emmet promises Libby that he
will stop molesting her. Libby believes her father's lie. Norma
wants revenge. Only that friendship that Emmet Bays destroys can
save these teenagers from him.
"The West End may be starved of new work, but real drama flourishes
at the Bush."-Michael Billington
"I tell my writers that their plays will be better produced at
the Bush than any theatre in Britain."-Peggy Ramsay
This special volume of frontline drama, edited by Mike Bradwell,
celebrates the twenty-fifth anniversary of London's Bush Theatre,
one of Britain's most vibrant fringe theatres and internationally
celebrated as a home for new writing. Since 1972, the Bush has
premiered plays by over 200 new writers and maintains a unique
record in discovering and nurturing the leading playwrights of the
future.
Included are two new plays, Mackerel Sky by Hilary Fannin and
Caravan by Helen Blakeman, produced as part of the Bush's
anniversary season, and contributions by Bush writers, actors, and
directors, including Snoo Wilson, Robert Holman, Alan Plater, Conor
McPherson, Kevin Elyot, Dominic Dromgoole, Catherine Johnson, Simon
Callow, Victoria Wood, Jonathan Harvey, David Edgar, Philip Ridley,
and many more which together form a living history of a vital
period of contemporary British drama.
The origins of religion and ritual in humans have been the focus of
centuries of thought in archaeology, anthropology, theology,
evolutionary psychology and more. Play and ritual have many aspects
in common, and ritual is a key component of the early cult
practices that underlie the religious systems of the first complex
societies in all parts of the world. This book examines the
formative cults and the roots of religious practice from the
earliest times until the development of early religion in the Near
East, in China, in Peru, in Mesoamerica and beyond. Here, leading
prehistorians and other specialists bring a fresh approach to the
early practices that underlie the faiths and religions of the
world. They demonstrate the profound role of play ritual and belief
systems and offer powerful new insights into the emergence of early
civilization.
During the 1960s large numbers of Early Cycladic sculptures of
marble, often broken, appeared on the illicit market. These were
usually of the strikingly simple form of the folded-arm figure of
marble long-known from the Early Cycladic cemeteries. Excavations
at Kavos on the island of Keros revealed a location later named the
'Special Deposit North', from which these had been looted. During
the years 2006-2008 systematic excavations at a location 110m to
the south revealed a hitherto undisturbed location, the Special
Deposit South, from which hundreds more of these broken Cycladic
figures were recovered. This volume describes in detail the marble
sculptures and marble vessels, almost always broken in the course
of ritual practice, which formed the key part of the systematic
depositions undertaken at this time during the Early Bronze Age
from ca. 2750-2300 BC. Details of the excavation were reported in
Volume II. Here in Volume III the remarkable marble finds from the
systematic excavation are fully described and illustrated. The
volume offers a systematic discussion of the Special Deposits at
Kavos in relation to the adjacent settlement at Dhaskalio, seen in
their Aegean perspective at the conclusion of the excavations in
2008. The sanctuary on Keros is recognized as a key site for the
emergence of ritual practice in the Aegean.
Volume II describes the excavation and finds from the Special
Deposits at Kavos at the sanctuary on Keros lying opposite the
settlement on the islet of Dhaskalio (described in Volume I). The
finds of marble from the Special Deposit South are described in
Volume III, and the pottery in Volume V. The sanctuary at Kavos,
dating from c. 2700 BC to 2400 BC has yielded the richest ritual
deposits of the early bronze age Cyclades. The finds are presented
here in their excavation contexts, and the significance of the
Special Deposit South as a ritual deposit is examined in the
context of Aegean prehistory.
The origins of religion and ritual in humans have been the focus of
centuries of thought in archaeology, anthropology, theology,
evolutionary psychology and more. Play and ritual have many aspects
in common, and ritual is a key component of the early cult
practices that underlie the religious systems of the first complex
societies in all parts of the world. This book examines the
formative cults and the roots of religious practice from the
earliest times until the development of early religion in the Near
East, in China, in Peru, in Mesoamerica and beyond. Here, leading
prehistorians and other specialists bring a fresh approach to the
early practices that underlie the faiths and religions of the
world. They demonstrate the profound role of play ritual and belief
systems and offer powerful new insights into the emergence of early
civilization.
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