This is the story of the National Ballet of Canada – the people, the determination, and how at sixty it is still creating new work while still representing the classics. Passion to Dance is the story of the National Ballet of Canada – the people who dreamt the company into existence, the determination needed to keep it afloat, the bumps on the road to its success, and above all, its passion for dance as a living, evolving art form. From catch-as-catch-can beginnings – borrowed quarters, tiny stages, enormous dreams the National Ballet has emerged as one of North America’s foremost dance troupes. The company at sixty is a company of its time, engaged in creating challenging new work, yet committed to maintaining the classics of the past, favourites like Swan Lake, The Nutcracker,and The Sleeping Beauty. One hundred and fifty photographs from the company’s archives illustrate this definitive history, filled with eyewitness accounts, backstage glimpses, and fascinating detail. This is a record of one of Canada’s boldest cultural experiments, a book to enjoy now and keep forever.

'Christopher's house stood out on its cliff like stages of lunar madness. It was the night of the first storm, not of winter, but of that week before winter which is the last warning to all creatures to dig themselves in...' Christopher Barocco is a self-made man of considerable means who decrees the building of a house in his image, to be carved out of a wild and treacherous Californian hillside in the Sierra Nevada valleys. However, as those who are drawn into his grand design soon discover, Barocco is also a man with a shadowy past; and the house is not destined to be a place where he will find peace but, rather, a catalyst for passion, violence, and death. First published in 1956, The Self-Enchanted was David Stacton's third novel. 'A Gothic extravaganza... [Stacton] seems to participate with so much fervour in the fantasies he describes.' Times Literary Supplement

Rethinking the Baroque explores a tension. In recent years the idea of ?baroque? or ?the baroque? has been seized upon by scholars from a range of disciplines and the term ?baroque? has consequently been much in evidence in writings on contemporary culture, especially architecture and entertainment. Most of the scholars concerned have little knowledge of the art, literature, and history of the period usually associated with the baroque. A gulf has arisen. On the one hand, there are scholars who are deeply immersed in historical period, who shy away from abstraction, and who have remained often oblivious to the convulsions surrounding the term ?baroque?; on the other, there are theorists and scholars of contemporary theory who have largely ignored baroque art and architecture. This book explores what happens when these worlds mesh. In this book, scholars from a range of disciplines retrieve the term ?baroque? from the margins of art history where it has been sidelined as ?anachronistic?, to reconsider the usefulness of the term ?baroque?, while avoiding simply rehearsing familiar policing of periodization, stylistic boundaries, categories or essence. ?Baroque? emerges as a vital and productive way to rethink problems in art history, visual culture and architectural theory. Rather than attempting to provide a survey of baroque as a chronological or geographical conception, the essays here attempt critical re-engagement with the term ?baroque? - its promise, its limits, and its overlooked potential - in relation to the visual arts. Thus the book is posited on the idea that tension is not only inevitable, but even desirable, since it not only encapsulates intellectual divergence (which is always as useful as much as it is feared), but helps to push scholars (and therefore readers) outside their usual runnels.

A wide variety of writing is included in this anthology, from the practical criticism of Arlene Croce and David Denby to the more scholarly work of Rudoloph Arnheim, Suzanne Langer, and Havelock Ellis. The collection is divided into seven sections: What is Dance?; the Dance Medium; Dance andthe Other Arts; Genre and Style; Language, Notation, and Identity; Dance Criticism; and Dance and Society.

This volume explores various perceptions, adaptations, and appropriations of Horace in the Early Modern age across textual, visual and musical media. It thus intends to advocate an interdisciplinary and multi-medial approach to the exceptionally rich and variegated afterlife of Horace.

Presenting research by an international community of scholars, this book explores through a series of cross sections the traffic of ideas between practice and history that has shaped modern architecture and the academic discipline of architectural history across the long twentieth century. The editors use the historiography of the baroque as a lens through which to follow the path of modern ideas that draw authority from history. In doing so, the volume defines a role for the baroque in the history of architectural historiography and in the history of modern architectural culture.