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Collectively, mankind has never had it so good despite periodic economic crises of which the current sub-prime crisis is merely the latest example. Much of this success is attributable to the increasing efficiency of the world's financial institutions as finance has proved to be one of the most important causal factors in economic performance. In a series of insightful essays, financial and economic historians examine how financial innovations from the seventeenth century to the present have continually challenged established institutional arrangements, forcing change and adaptation by governments, financial intermediaries, and financial markets. Where these have been successful, wealth creation and growth have followed. When they failed, growth slowed and sometimes economic decline has followed. These essays illustrate the difficulties of co-ordinating financial innovations in order to sustain their benefits for the wider economy, a theme that will be of interest to policy makers as well as economic historians.
His introduction gives an excellent overview of the development of tanka in the last one hundred years.
Each chapter of this book presents a single day of the twenty-day training which Ruth Zaporah developed into Action Theater, her investigation into the life-reflecting process of improvisation. This book shows through exercises, stories, anecdotes, and metaphors how to focus attention on the body's awareness of the present moment, moving away from preconceived ideas. Improvisations move through fear, boredom, laziness, and distraction to a sustained awareness of creative options.
Korean cinema was virtually unavailable to the West during the Japanese colonial period (1910-1945), and no film made before 1943 has been recovered even though Korea had an active film-making industry that produced at least 240 films. For a period of forty years, after Korea was liberated from colonialism, a time where Western imports were scarce, Korean cinema became an innovative force reflecting a society whose social and cultural norms were becoming less conservative. Im Kwon-Taek: The Making of a Korean National Cinema is a colleciton of essays written about Im Kwon-Taek, better know as the father of New Korean Cinema, that takes a critical look at the situations of filmmakers in South Korea. Written by leading Koreanists and scholars of Korean film in the United States, Im Kwon-Taek is the first scholarly treatment of Korean cinema. It establishes Im Kwon-Taek as the only major Korean director whose life's work covers the entire history of South Korea's military rule (1961-1992). It demonstrates Im's struggles with Korean cinema's historical contradictions and also shows how Im rose above political discord. The book includes an interview with Im, a chronology of Korean cinema and Korean history showing major dynastic periods and historical and political events, and a complete filmography. Im Kwon-Taek is timely and makes a significant contribution to our understanding of Korean cinema. These essays situate Im Kwon-Taek within Korean filmmaking, placing him in industrial, creative, and social contexts, and closely examine some of his finest films. Im Kwon-Taek will interest students and scholars of film studies, Korean studies, religious studies, postcolonial studies, and Asian studies.
Before he wrote the bestselling 100 Cupboards trilogy and Ashtown Burials series, N. D. Wilson delighted readers with his first unforgettable action-adventure story of survival. . . . Thomas Hammond has always lived next to Leepike Ridge, but he never imagined he might end up lost beneath it! The night Tom’s schoolteacher comes to dinner and asks Tom’s mother to marry him, Tom slips out of the house and escapes down a nearby stream on a floating slab of packing foam. The night and stars lull Tom to sleep, and when he wakes, he has ridden his foam raft all the way to the ridge, where the stream dives underground. Flung over rapids and tossed through chasms, Tom finally hits shore, sore but alive. What Tom finds under Leepike Ridge—a dog, a flashlight, a castaway, a tomb, and buried treasure—will answer questions he hadn’t known to ask, and change his life forever. Now, if only he can find his way home again. . . . In the grand tradition of Robinson Crusoe, Hatchet, and Tom Sawyer, N. D. Wilson’s first book for young readers is a remarkable adventure, a journey through the dark and back into the light. A New York Public Library 100 Titles for Reading and Sharing “This is a ripping good adventure yarn. . . . Here’s the perfect remedy for any summer that’s been disappointingly short on thrills.”—The Bulletin of the Center for Children’s Books, Starred “Wilson’s debut is a literate, sometimes humorous page-turner in the classic tradition. Well-read adventure lovers are in for a treat looking for echoes of The Odyssey and Tom Sawyer.”—Kirkus Reviews “Tom’s adventures have several literary ancestors, including Tom and Huck in the cave, and the inventive Swiss Family Robinson, but this is solidly set in the present, standing on its own with well-crafted suspense and fascinating survival detail. . . . [M]iddle-grade readers will also relish the physicality of the journey: underwater swims, tight passages, and rock climbing. . . . [An] appealing and easy-to-booktalk package.”—Booklist “Wilson sets the scene vividly, from Tom’s home to the labyrinth of tunnels and caverns under the mountain, and the central characters’ emotional lives develop both naturally and affectingly. [Readers] will appreciate both the fast-paced adventure and Tom’s determination to make the impossible journey back home.”—The Horn Book Magazine “Wilson’s rich imagination and his quirky characters are a true delight.”—School Library Journal
"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.
Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.
An “incandescent….redefining biography of a major poet whose reputation continues to ascend” (Booklist, starred review)—Wallace Stevens, perhaps the most important American poet of the twentieth century. Wallace Stevens (1879-1955) lived a richly imaginative life that he expressed in his poems. “A biography that is both deliciously readable and profoundly knowledgeable” (Library Journal, starred review), The Whole Harmonium presents Stevens within the living context of his times and as the creator of a poetry that continues to shape how we understand and define ourselves. A lawyer who rose to become an insurance-company vice president, Stevens composed brilliant poems on long walks to work and at other stolen moments. He endured an increasingly unhappy marriage, and yet he had his Dionysian side, reveling in long fishing (and drinking) trips to the sun-drenched tropics of Key West. He was at once both the Connecticut businessman and the hidalgo lover of all things Latin. His first book of poems, Harmonium, published when he was forty-four, drew on his profound understanding of Modernism to create a distinctive and inimitable American idiom. Over time he became acquainted with peers such as Robert Frost and William Carlos Williams, but his personal style remained unique. The complexity of Stevens’s poetry rests on emotional, philosophical, and linguistic tensions that thread their way intricately through his poems, both early and late. And while he can be challenging to understand, Stevens has proven time and again to be one of the most richly rewarding poets to read. Biographer and poet Paul Mariani’s The Whole Harmonium “is an excellent, superb, thrilling story of a mind….unpacking poems in language that is nearly as eloquent as the poet’s, and as clear as faithfulness allows” (The New Yorker).