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A renowned biologist's cutting-edge and unconventional examination of human reproduction and embryo research Scientists have long struggled to make pregnancy easier, safer, and more successful. In The Dance of Life, developmental and stem-cell biologist Magdalena Zernicka-Goetz takes us to the front lines of efforts to understand the creation of a human life. She has spent two decades unraveling the mysteries of development, as a simple fertilized egg becomes a complex human being of forty trillion cells. Zernicka-Goetz's work is both incredibly practical and astonishingly vast: her groundbreaking experiments with mouse, human, and artificial embryo models give hope to how more women can sustain viable pregnancies. Set at the intersection of science's greatest powers and humanity's greatest concern, The Dance of Life is a revelatory account of the future of fertility -- and life itself.
"Hall, whose Beyond Culture and The Silent Language won a wider readership, has written a ground-breaking investigation of the ways we use and abuse time, rich in insights applicable to our lives. Business readers will enjoy the cross-cultural comparison of American know-how with practices of compartmentalized German, centralized French, and ceremonious Japanese firms." —Publishers Weekly In his pioneering work The Hidden Dimension, Edward T. Hall spoke of different cultures' concepts of space. Now The Dance of Life reveals the ways in which individuals in culture are tied together by invisible threads of rhythm and yet isolated from each other by hidden walls of time. Hall shows how time is an organizer of activities, a synthesizer and integrator, and a special langauge that reveals how we really feel about each other. Time plays a central role in the diversity of cultures such as the American and the Japanese, which Hall shows to be mirror images of each other. He also deals with how time influences relations among Western Europeans, Latin Americans, Anglo-Americans, and Native Americans.
A collection of 6 shorter works, Vol 3 is the last of the stories from Red's Early Works Series--reprinted from the 1970's. It contains three interesting autobiographical pieces: 'ROUND BELDEN CORNOR, IT'S SO EASY TO BE A REDNECK, & CONFESSIONS OF A SCHIZOPHRENIC TEENAGE LESBIAN, written when he was 18, 23, and 34, respectivly. A long colorfull Pimp-Ho street piece HOW RUBY GOT THERE (in the genre of his Masterworks Ho Stroll & Bars Across Heaven). A delicious piece entitled CHINESE HEROES IN WOMENS LIBERATION; and CARDGAMES & INDIANS; the funny, ironic, surreal tale of 3 black men lost in a Kansas cornfield after a mad all-night drive cross country to escape the responsibitlies of their workweary job & family lives. Don't forget to read the NOTES section at the end of this (and all 3 volumes) which gives additional information on the stories, how they were created, their place in time, ect. Another well-written collection by the Master Author Red Jordan Arobateau.
Have you been feeling creatively stagnant or distanced from dance? Meet your new rectangular dance partner. A whisper from the creative muses. "The Artist's Way" in dance form. A calling to get back to dance and get back to YOU. Because starting to dance - again or for the first time - is often easier said than done. (Cue the intimidation, body image issues, time constraints, etc.) But dancing regularly is a proven source of happiness and healing, and for many it's a way to revive a lost part of our souls. This book is meant to be danced with, alone in your room to start, with a series of inspiring stories and directive prompts that you can do anytime. No more need for excuses or endlessly searching for the perfect class... make your bedroom your dance studio and DANCE WITH THIS BOOK. Side effects may include: making more space for yourself, reconnecting to your body, boosting your creative energy, releasing stress and stuck emotions, and feeling less alone. No leotards or expensive leggings required.
In recent years, the work of Zakes Mda—novelist, painter, composer, theater director and filmmaker—has attracted worldwide critical attention. Gail Fincham’s book examines the five novels Mda has written since South Africa’s transition to democracy: Ways of Dying (1995), The Heart of Redness (2000), The Madonna of Excelsior (2002), The Whale Caller (2005), and Cion (2007). Dance of Life explores how refigured identity is rooted in Mda’s strongly painterly imagination that creates changed spaces in memory and culture. Through a combination of magic realism, African orature, and intertextuality with the Western canon, Mda rejects dualistic thinking of the past and the present, the human and the nonhuman, the living and the dead, the rural and the urban. He imbues his fictional characters with the power to orchestrate a reconfigured subjectivity that is simultaneously political, social, and aesthetic.
The Dance of LIfe is a collection of 15 theme-based autobiographical essays, two short stories, seven poems, and 22 photographs in which various places, events and characters that have played a role the author’s life appear in multiple contexts. From these pieces, readers are invited to create their own composite picture of the person who calls herself Pat Piety. The author also hopes these word-association exercises in memory will prompt readers to recall significant memories in their own lives.
This book was planned many years ago. As to the idea running through it, I cannot say when that arose. My feeling is, it was born with me. On reflection, indeed, it seems possible the seeds fell imperceptibly in youth—from F. A. Lange, maybe, and other sources—to germinate unseen in a congenial soil. However that may be, the idea underlies much that I have written. Even the present book began to be written, and to be published in a preliminary form, more than fifteen years ago. Perhaps I may be allowed to seek consolation for my slowness, however vainly, in the saying of Rodin that “slowness is beauty,” and certainly it is the slowest dances that have been to me most beautiful to see, while, in the dance of life, the achievement of a civilisation in beauty seems to be inversely to the rapidity of its pace.Moreover, the book remains incomplete, not merely in the sense that I would desire still to be changing and adding to each chapter, but even incomplete by the absence of many chapters for which I had gathered material, and twenty years ago should have been surprised to find missing. For there are many arts, not among those we conventionally call “fine,” which seem to me fundamental for living. But now I put forth the book as it stands, deliberately, without remorse, well content so to do.Once that would not have been possible. A book must be completed as it had been originally planned, finished, rounded, polished. As a man grows older his ideals change. Thoroughness is often an admirable ideal. But it is an ideal to be adopted with discrimination, having due reference to the nature of the work in hand. An artist, it seems to me now, has not always to finish his work in every detail; by not doing so he may succeed in making the spectator his co-worker, and put into his hands the tool to carry on the work which, as it lies before him, beneath its veil of yet partly unworked material, still stretches into infinity. Where there is most labour there is not always most life, and by doing less, provided only he has known how to do well, the artist may achieve more.