“Thursday’s Child,” aka Peter Tobin – foundling, drover, shearer, horse-breaker, soldier, and pastoralist – travelled far and wide throughout the Australian outback in the late nineteenth and early twentieth century. The legacy of his widely scattered seed is gathered up in this tale of fatal misunderstandings, murder, and altruism, spanning the years 1910 to 1974. Like the Peter Tobin memoir “Thursday’s Child” that precedes it, the author gives a respectful nod to history pedants and reminds them this is a work of fiction.

Foundling Peter Tobin lived through a vanished age, a time when the wide Australian outback was opening up to the force of steel rails, steam power, visionary civic builders, and the power of determined men and their horses.In the remote outback of the late 19th century, Peter makes his own way in the world, from drover, sheep shearer and horse breaker, training horses for the South African War, to wealthy man of the land.The saga of a world now gone is told in powerful terms in the novel Thursday?s Child: Journeys Far and Wide in the Australian Outback.

This Element considers the concept of performance diagrams and shows their historical, epistemic and aesthetic functions in theatre and dance. In three sections, the author surveys the architectural model of theatre by Vitruvius, the woodcut of Marlow's Doctor Faustus, Aby Warburg's Mnemosyne-Atlas, the spells and drawings of Antonin Artaud, the performance Paradise Now (the Living Theatre) and the choreography I am 1984 (Barbara Matijević). Demonstrating that diagrams can be applied to multiply dramaturgical trajectories, the text reviews their relevance for performance-making, analysis and documentation. The author argues that diagrams provide new tools for theory, practice and archiving, while at the same time enabling reflection on the intersections between poetics and politics. Focusing on the potentiality of diagrams to cut through representation and dichotomies, this Element affirms the visual, corporeal and spatial dimensions of performance-making. In doing so, it elucidates the significance of diagrammatic thinking for performance studies.

The Seventh Gate is the thrilling conclusion to the New York Times bestselling Death Gate Cycle by Margaret Weis and Tracy Hickman. In this tale of treachery, power, and heroism, Alfred, Haplo, and Marit embark on a journey of death and discovery as they seek to enter the dreaded Seventh Gate. Encountering enemies both old and new, they unleash a magic no power can control, damning themselves to an apocalypse of unimagined proportion in a final struggle between good and evil.

This work was inspired by the book Sefer Ha?Madah (The Book of Knowledge) by Rabbi Moshe ben Maimon, also known as Maimonides. Sefer Ha?Madah is the first volume of his work Mishneh Torah, which is his monumental codification of the Oral Torah Law. In it, Maimonides explains the Torah's path to true and proper faith-based knowledge. The essential points of our present book, and much of its text, have been taken from Maimonides? holy words in Sefer Ha?Madah, Beyond that, we have added background information and explanations to produce a book meant specifically for those who are, or who want to become, righteous Gentiles in God's eyes. We have not attempted to include every proper and righteous outlook, character trait, and path in life for Gentiles. However, in a general manner, this book presents the proper views and behaviors for a righteous person of any nationality or culture.

Acclaimed by Publishers Weekly as "a classic reference, dizzying in its breadth," this volume explores the themes underlying ancient mythology, philosophy, and religion. Hundreds of entries range from esoteric elements of Islamic and Christian history to arcane rituals practiced by Druids, Freemasons, alchemists, and other secret societies. 16 pages of color plates, 100 black-and-white illustrations.