Dances and balls appear throughout world literature as venues for young people to meet, flirt, and form relationships, as any reader of Pride and Prejudice, War and Peace, or Romeo and Juliet can attest. The popularity of social dance transcends class, gender, ethnic, and national boundaries. In the context of nineteenth- and twentieth-century Jewish culture, dance offers crucial insights into debates about emancipation and acculturation. While traditional Jewish law prohibits men and women from dancing together, Jewish mixed-sex dancing was understood as the very sign of modernity––and the ultimate boundary transgression. Writers of modern Jewish literature deployed dance scenes as a charged and complex arena for understanding the limits of acculturation, the dangers of ethnic mixing, and the implications of shifting gender norms and marriage patterns, while simultaneously entertaining their readers. In this pioneering study, Sonia Gollance examines the specific literary qualities of dance scenes, while also paying close attention to the broader social implications of Jewish engagement with dance. Combining cultural history with literary analysis and drawing connections to contemporary representations of Jewish social dance, Gollance illustrates how mixed-sex dancing functions as a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions.

When Veronica accidentally got pregnant by her husband, the next time she saw her hairdresser, who also happened to be a regular client, she told him that she was going to stop being a prostitute. “Good,” he said. “Thank God. Y’know I always thought that you were too good to be a prostitute. You’re a nice girl, you’re smart, and you’re pretty. You shouldn’t lead a life like that. I’m glad you’re not going to be a prostitute anymore.” Two months later after Veronica miscarried, she was in the hairdresser’s shop and said to him, “I’m thinking about getting back into prostitution.” “Are you available Thursday night?”was his only question.

Holly and Heather share their story and help to walk the reader through the painful yet necessary healing process for when life deals us its harshest blows. Dancing on my ashes soothes and empathizes with the broken heart, while sharing the truth of scripture, and the hope that comes from the heart of God.

As the 20th century dawned, authors, artists, and filmmakers flocked to cities like Paris and Berlin for a chance to experience a bustling urban life and engage with other artists and intellectuals. Among them were German-speaking authors and filmmakers such as Harry Graf Kessler, Rainer Maria Rilke, August Endell, Alfred Döblin, Else Lasker-Schüler, Segundo de Chomón, and the brothers Max and Emil Skladanowsky. In their writing and artistic work from that period, they depicted the perpetual influx of stimuli caused by urban life—including hordes of pedestrians, bustling traffic, and a barrage of advertisements—as well as how these encounters repeatedly paralleled their experiences of watching early twentieth-century dance performances by Loïe Fuller, Ruth St. Denis, and Vaslav Nijinsky. The convergence these writers and filmmakers saw between the unexpected encounters during their urban strolls and experimental dance performances led to writings that interwove the two motifs. Drawing on cultural, literary, dance, performance, and queer studies, Dancing with the Modernist City analyzes an array of material from 1896 to 1914—essays, novels, short stories, poetry, newspaper articles, photographs, posters, drawings, and early film. It argues that these writers and artists created a genre called the metropolitan dance text, which depicts dancing figures not on a traditional stage, but with the streets, advertising pillars, theaters, cafes, squares, and even hospitals of an urban setting. Breaking away from the historically male, heteronormative view, this posthumanist mode of writing highlights the visual and episodic unexpectedness of urban encounters. These literary depictions question traditional conceptualizations of space and performance by making the protagonist and the reader feel like they embody the dancer and the movement. In doing so, they upset the conventional depictions of performance and urban spaces in ways paralleling modern dance.

Born out of the experiences of hundreds of thousands of women who Raechel and Amanda have walked alongside as they walk with the Lord, She Reads Truth is the message that will help you understand the place of God's Word in your life.

One of the most important works of gay literature, this haunting, brilliant novel is a seriocomic remembrance of things past -- and still poignantly present. It depicts the adventures of Malone, a beautiful young man searching for love amid New York's emerging gay scene. From Manhattan's Everard Baths and after-hours discos to Fire Island's deserted parks and lavish orgies, Malone looks high and low for meaningful companionship. The person he finds is Sutherland, a campy quintessential queen -- and one of the most memorable literary creations of contemporary fiction. Hilarious, witty, and ultimately heartbreaking, Dancer from the Dance is truthful, provocative, outrageous fiction told in a voice as close to laughter as to tears.

The age of high tech is haunted by an image from the last century that developed in the three decades between the patenting of the cinematographe and its turn toward sound: the dancing machine, paradox of the ease of mechanization and its tortures, embodiment of the motor and the automaton, image of fusion and fragmentation. An excavation of this image, in the historical context of maximum productivity and mechanical reproducibility, reveals its development in European Modernism--Modernism drawn to dancers of American, African, and Asian origins, to Taylorism as well as to Primitivism, to cinema and to myth. This book traces the abstraction and anonymity of the bodies making machines dance, in the codes of modernisms graphic and choreographic, and in the streamlined gestures of industry, avant-garde art, and entertainment. What surfaces is dance’s centrality to machine aesthetics and to its alternatives, as well as to the early elaboration of the machine that would become the ultimate guarantor of modern dance’s de-mechanization, the motion picture camera.

Knowing how to lead and how to follow is essential in ballroom dancing. The same is true in marriage. Author Richard C. Eyer uses the biblical themes of the image of God and the mystery of the one flesh union of marriage to assert that marriage is not whatever we choose to make of it, but it is what God has made it to be. Readers identify with the sometimes humorous, sometimes difficult, nature of dancing that parallels the humorous and difficult nature of marriage. This is not a book on how to fix a bad marriage, but how to support a good marriage. Learn how marriage thrives when spiritual love, as well as human love, are present between a husband and wife. The author shares personal illustrations from his own marriage and includes a discussion guide for couples' use. The book is an excellent resource for couples and for pastors who counsel couples both before and after the marriage ceremony.

Dancing in the Rain offers a lively and accessible guide aimed at helping education leaders thrive under pressure by developing the inner strengths of mindfulness and self-compassion, expressing emotions wisely, and maintaining a clear focus on the values that matter most. Jerome T. Murphy, a scholar and former dean who has written and taught about the inner life of education leaders, argues that the main barrier to thriving as leaders is not the outside pressures we face, but how we respond to them inside our minds and hearts. In this concise volume, Murphy draws on a combination of Eastern contemplative traditions and Western psychology, as well as his own experience and research in the field of education leadership. He presents a series of exercises and activities to help educators take discomfort more in stride, savor the joys and satisfactions of leadership work, and thrive as effective leaders guided by heartfelt values. Every day, education leaders find themselves swamped in a maelstrom of pressures that add to the complex challenges of educating all students to a high level. With humor and compassion, Dancing in the Rain shows educators how to lead lives of consequence and purpose in the face of life’s inescapable downpours.