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Inside the Whimsy Works
In this never-before-published memoir from the vaults of the Walt Disney Archives, Disney Legend Jimmy Johnson (1917-1976) takes you from his beginnings as a studio gofer during the days ofSnow White and the Seven Dwarfsto the opening of Walt Disney World Resort. Johnson relates dozens of personal anecdotes with famous celebrities, beloved artists, and, of course, Walt and Roy Disney.
This book, also the story of how an empire-within-an-empire is born and nurtured, traces Johnson's innovations in merchandising, publishing, and direct marketing, to the formation of what is now Walt Disney Records. This fascinating biography explains how the records helped determine the course of Disney Theme Parks, television, and film through best-selling recordings by icons such as Annette Funicello, Fess Parker, Julie Andrews, Louis Armstrong, and Leopold Stokowski and the Philadelphia Orchestra.
Through Jimmy Johnson's remarkable journey, the film, TV, and recording industries grow up together as changes in tastes and technologies shape the world, while the legacy of Disney is developed as well as carefully sustained for the generations who cherish its stories, characters, and music.
eBook
قراءات في فكر كمال يوسف الحاج بين الفلسفة والقومية : ندوة في إطار الاحتفالات المئوية الأولى لولادة كمال يوسف الحاج، جامعة البلمند 6 نيسان 2017
في إطار الاحتفالات بمناسبة \"المئوية الأولى لولادة كمال يوسف الحاج\"، دعت أسسية كمال الحاج-بيت الفكر، واللجنة المركزية لمئوية كمال الحاج، بالتعاون مع مؤسسة الفكر اللبناني في جامعة سيدة اللويزة، إلى حضور النشاط الأكاديمي الرابع، احتفاء بهذه المئوية، يتضمن هذا التشاط ندوة فكرية بموضوع بين الفلسفة والقومية : قراءات في مؤلفات كمال يوسف الحاج، تنظمها جامعة البلمند، يشارك فيها خمسة منتدين : د. ناصيف قوي، د. أنطوان أبو زيد، د. شربل داغر، د. فرانك درويش، د. محمود حداد. الزمان : الخميس 6 إبريل 2017، الثانية عشرة والنصف ظهرا. المكان : أوديتوريوم الشيخ نهيان-حرم جامعة البلمند (الكورة)
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MCAULEY BEYOND DESPAIR
In addition to promoting his own program, whose priorities included the redistribution of land, Santamaria was determined to drive out communist influence from the labor movement.The Church he had joined in 1952 conspicuously honoured Our Lady, said the rosary, was not embarrassed by apparitions, or miracles, or martyrdom, was the ultimate adamantine rock of resistance to Communism, was quite, quite sure that marriage was indissoluble, that pre-marital unchastity was wrong, that sexual perversion was wrong, that Satan and his angels were the enemies of man as Christ and his angels were the allies of man, that there was a hell of damnation as surely as there was a heaven of beatitude, that the Gospel narratives were true, that Christ died and rose again from the dead not in some Pickwickian or Bultmannian sense but really and truly. . [...]McAuley had already given his answer to the turmoil in the Church and in the world.The search for Terra Australis is the soul's journey to somewhere as yet unseen, the existence of which, even if it stands to reason, must be to some extent a matter of faith, a journey on which physical and spiritual evils can never be wholly defeated.
Journal Article
'By No Stretch . . . a Locus Amoenus': Traces of Dirt in the Early Poetry of James McAuley
While there are traces through the early poems, the dystopian motifs of debris and rubbish are most fully evident in the descriptive, thinly-veiled autobiographical portrait of the anarchist1 student living in rented rooms, in McAuley's poem 'Revenant,' dated 1939-1942, published in his first collection Under Aldebaran (1946): I enter the familiar house . . (16) In The Waste Land McAuley would have remarked Eliot's luxuriant images of inner city decay-'the empty bottles and sandwich papers' and the once pristine River Thames sweating 'oil and tar' ('The Fire Sermon,' CP 70-73), and in 'Prufrock,' the 'one-night cheap hotels' and 'sawdust restaurants with oyster-shells' (Eliot, CP 13). The Waste Land arguably licensed McAuley's resort to the trope of negatively value-laden, untidy debris, the mouldy bread-crusts and wine dregs, the overgrown backyard in 'Revenant,' whose Prufrockianpersona is further elaborated in the disillusioned artist vagabond protagonist of McAuley's early short fiction 'Under Aldebaran' (Hermes 45.2, 15-17). ('Perspective Lovesong,' in 'The Darkening Ecliptic,' Angry Penguins, June 1944) In the Malley poems the collective McAuley (and Stewart) do not draw on universal, generalised inner-city images but on those closer to home, the iconic inner Melbourne of their sojourn there in the early to mid-1940s while enlisted in the Australian Army: But where I have lived Spain weeps in the gutters of Footscray ('Petit Testament,' in 'The Darkening Ecliptic') The demise of similar working-class communities would be lamented by the left philosopher, Henri Lefebvre, 40 years later ('Notes on the New Town' 148-55).
Journal Article
Leonora in the morning light
1937. British socialite and painter Leonora Carrington meets Max Ernst, an older, married artist whose work has captivated Europe. She follows him to Paris, and gains recognition under her own name. When Max and his circle are denounced as \"degenerates\" and arrested, Leonora battles terrifying circumstances to survive. 1940. A train carrying exiled German prisoners from a labor camp arrives in southern France, but face capture by the Nazis. Only one man does not flee, determined to ride the train until he reaches home, to find a woman he refers to simply as \"her.\"--Adapted from jacket
BOOK
Strangers in the House of the Mind
Presents the strange story of Ern Malley, a 'summary of an autobiography of a fiction'. Discuss the implications of the recent discovery of what purports to be an autobiographical manuscript. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
Journal Article
Red at heart : how Chinese communists fell in love with the Russian Revolution
\"Beginning in the 1920s thousands of Chinese revolutionaries set out for Soviet Russia. Once there, they studied Russian language and experienced Soviet communism, but many also fell in love, got married, or had children. In this they were similar to other people from all over the world who were enchanted by the Russian Revolution and lured to Moscow by it. The Chinese who traveled to live and study in Moscow in a steady stream over the course of decades were a key human interface between the two revolutions, and their stories show the emotional investment backing ideological, economic, and political change. After the Revolution, the Chinese went home, fought a war, and then, in the 1950s, carried out a revolution that was and still is the Soviet Union's most geopolitically significant legacy. They also sent their children to study in Moscow and passed on their affinities to millions of Chinese, who read Russia's novels, watched its movies, and learned its songs. If the Chinese eventually helped to lead a revolution that resembled Russia's in remarkable ways, it was not only because class struggle intensified in China, or because Bolsheviks arrived in China to ensure that it did. It was also because as young people, they had been captivated by the potential of the Russian Revolution to help them to become new people and to create a new China. Elizabeth McGuire presents an alternate narrative on the Sino-Soviet split of the 1960s by looking back to before the split to show how these two giant nations got together. And she does so on a very personal level by examining biographies of the people who experienced Sino-Soviet affairs most intimately: Chinese revolutionaries whose emotional worlds were profoundly affected by connections to Russia's people and culture\"--Provided by publisher.
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