Toronto Workshop Productions was Toronto's first 'alternative' theatre, and for thirty years, from 1959 until its closure in 1989, it introduced audiences to a radically new form of theatre. Neil Carson's in-depth history of TWP traces the fortunes of many of its actors, writers, designers, and technicians -- but the troupe's colourful artistic director, George Luscombe, is its central character.
George Luscombe brought Toronto a new form of theatre based on the techniques and theories he developed during the four years he worked with Joan Littlewood's Theatre Workshop in London. Toronto Workshop Productions began its activities in a small theatre in the basement of a factory in 1959 with Luscombe as artistic director. He presided over a program of collective play creation that fostered cooperative collaboration among all the contributing artists. A series of original works and plays from the European repertoire in innovative productions won the company increasing critical acclaim. The company acquired its own building in 1967, establishing its reputation as the most exciting theatre in the city. By the early 1970s, however, a growing atmosphere of Canadian nationalism caused TWP to be overshadowed by a number of new alternative theatres. Luscombe's and TWP's vision of an ideologically committed, technically experimental theatre remained strong for a number of years, but in the end a combination of internal and external problems overwhelmed the company.
TWP's productions provoked radically different responses among audiences, and Luscombe's particular style of drama - a combination of documentary, stylized movement, and music - remains controversial. As a pioneer and as a stimulating teacher, however, George Luscombe has provided inspiration for countless actors and directors. Carson's book is an invaluable addition to the history of Canadian theatre.
In Spenser's famous Flight, Patrick Cheney challenges the received wisdom about the shape and goal of Spenser's literary career. He contends that Spenser's idea of a literary career is not strictly the convential Virgilian pattern of pastoral to epic, but a Christian revision of that pattern in light of Petrarch and the Reformation.
Cheney demonstrates that, far from changing his mind about his career as a result of disillusionment, Spenser embarks upon and completes a daring progress that secures his status as an Orphic poet.
In October, Spenser calls his idea of a literary career the 'famous flight.' Both classical and Christian culture has authorized the myth of the winged poet as a primary myth of fame and glory. Cheney shows that throughout his poetry Spenser relies on an image of flight to accomplish his highest goal.
Patrick Cheney is Professor of English and Comparative Literature at Pennsylvania State University.
The name non-Euclidean was used by Gauss to describe a system of geometry which differs from Euclid's in its properties of parallelism. Such a system was developed independently by Bolyai in Hungary and Lobatschewsky in Russia, about 120 years ago. Another system, differing more radically from Euclid's, was suggested later by Riemann in Germany and Cayley in England. The subject was unified in 1871 by Klein, who gave the names of parabolic, hyperbolic, and elliptic to the respective systems of Euclid-Bolyai-Lobatschewsky, and Riemann-Cayley. Since then, a vast literature has accumulated.
The Fifth edition adds a new chapter, which includes a description of the two families of 'mid-lines' between two given lines, an elementary derivation of the basic formulae of spherical trigonometry and hyperbolic trigonometry, a computation of the Gaussian curvature of the elliptic and hyperbolic planes, and a proof of Schlafli's remarkable formula for the differential of the volume of a tetrahedron.
H.S.M. Coxeter (1907-2003) was Professor of Mathematics at the University of Toronto.
The present work does not in any way aim to replace Bensley's Practical Anatomy of the Rabbit, which has long since proved its value beyond question. The attempt has been to meet a need for a shorter and less detailed laboratory guide adapted to courses for which Bensley's Anatomy has been found too extensive. Classes for which the present book is designed have assignments of time for this subject varying from about twenty-four hours to about sixty hours. Some of them have two-hour periods and some have three-hour periods. Some, moreover, have need for special emphasis on certain parts which are of less immediate interest to others.
Of the twenty-eight illustrations, fifteen are new and the remainder have been borrowed from Bensley's Practical Anatomy. Four of the latter were the work of the late Dr. Bensley, the rest were prepared by the present author.
Edward Horne Craigie (1894-1989) was a professor of Comparative Anatomy and Neurology in the University of Toronto.
Michael Craton is a professor emeritus of History at the University of Waterloo.
James Walvin is a professor emeritus of History at University of York.
Writer, critic, and cultural activist José Bergamín (1895-1983) was unjustly relegated to the sidelines of contemporary Spanish intellectual life for reasons that have more to do with his political dissidence and long periods of exile than with the interest and importance of his written work. This book represents the first attempt to come to terms with that work.
Professor Dennis's study focuses on the period 1920-1936, the so-called silver age of Spanish literature, during which Bergamín rose to prominence alongside a group of superlatively gifted writers and friends, among them Frederico Garcia Lorca, Rafael Alberti, Jorge Guillén, and Pedro Salinas. It sets out to explain the nature of the relationship Bergamín had as a critic and prose writer with the major poets of the 1920s and 1930s, and at the same time systematically examines the singularity of his own work as an aphorist, essayist, and dramatist. Professor Dennis also devotes attention to explaining the sense of Bergamín's initiative in founding the important journal Cruz y Raya (1933-1936) and the role this publication played, both culturally and politically, during the troubled years of the Second Republic.
This book not only fills a notable gap in our understanding of pre--Civil War literary and intellectual life in Spain, but also lays the foundation for all future research into the work of this fascinating and enigmatic writer.
Nigel Dennis (1949-2013) was a professor of Spanish in the School of Modern Languages at the University of St. Andrews.
Michael Robin Eastwood, MBChB, MD, MRCPsych, MANZCP, FRCP©, is an associate professor of psychiatry at the University of Toronto and a staff psychiatrist with the Clinical Investigation Unit at the Clarke Institute of Psychiatry.