A study of the plays of García Lorca, the greatest Spanish dramatist of the twentieth century.

“We’ll meet again someday on the avenue.” —Carolyn "Mountain Girl" Garcia One of the most influential artists of our time, Jerry Garcia embodied music with every fiber of his being. In this comprehensive biography, devoted fan, taper, and personal friend Sandy Troy explores the life, work, philosophy, and soul of the lead guitarist for the Grateful Dead. Featuring exclusive interviews with Phil Lesh, David Nelson, Rock Scully, Jorma Kaukonen, Mountain Girl, Jerry himself, and many others, the book offers a unique understanding of a man beloved by so many. Through his great loves, losses, and struggles, Jerry fiercely kept his artistic spirit, playing the best he could, as often as he could, while sharing his love of music with everyone around him. Troy explores the powerful social, cultural, and musical impact of Jerry during his peak in the 60s and 70s, as well as the evolution of the eclectic scene, and the new era of Deadheads.

He was there when Dylan went electric, when a generation danced naked at Woodstock, and when Ken Kesey started experimenting with acid. Jerry Garcia was one of the most gifted musicians of all time, and he was a member of one of the most worshiped rock 'n' roll bands in history. Now, Blair Jackson, who covered the Grateful Dead for twenty-five years, gives us an unparalleled portrait of Garcia--the musical genius, the brilliant songwriter, and ultimately, the tortured soul plagued by his own addiction. With more than forty photographs, many of them previously unpublished, Garcia: An American Life is the ultimate tribute to the man who, Bob Dylan said, "had no equal."

Alan Garcia became President of Peru in July 1985. This book examines his administration and its effects on Peru. The author argues that initially Garcia was successful in tackling the countries problems but that when he left office in 1990 Peru's social, political and economic ills looked worse.

In just his first five years of filmmaking, acclaimed Portland independent director Jon Garcia was able to produce four feature films. Eric B. Olsen examines the first four films of Garcias career in order to provide a deeper understanding of works that transcend the limitations of independent filmmaking and to show how they have attained the status of art. Part oral history and part film analysis, the book provides a detailed textual commentary on Tandem Hearts (2010), the directors first film; The Falls (2011) and The Falls: Testament of Love (2013), his most well-known films; and The Hours Till Daylight (2016). The Films of Jon Garcia: 20092013 takes an in-depth look at a writer-director who has earned a reputation as one of the Pacific Northwests premier filmmakers.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Symbol and psyche are twin concepts in contemporary symbological studies, where the symbol is considered to be a "statement" by the psyche. The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols. In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches ofBlood Wedding have until this book remained largely unexplored. Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self. Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.

The name of Pauline Viardot Garcia was well known during her lifetime, but after her death in 1910, she passed into obscurity. She was born in Paris in 1821, the youngest child of the Spanish tenor, Manuel Garcia; her sister was Maria Malibran, and her brother, Manuel Patrizio Garcia, was an eminent teacher of singing. The first volume of her biography ranges from 1836 until 1863 and covers the most important years of her operatic career. Several composers wrote for her, including Meyerbeer, for whom she created Fidès in Le Prophète; Saint Saëns modelled the role of Delilah on her and Brahms composed the Alto Rhapsody, which she premiered in 1870. She encouraged Gounod to write his first opera, Sapho, and sang the title role in the premiere at the Paris Opéra and at Covent Garden. Schumann dedicated his Liederkreis Op. 24 to Viardot, and Fauré dedicated several of his songs to her. She launched the career of Jules Massenet, and gave valuable assistance to Sullivan, Bizet, Stanford, Arthur Goring Thomas and several other musicians at the beginning of their careers. Although she was not good looking, she had a fascinating personality and great charm and several men fell in love with her, including Alfred de Musset, Gounod, Maurice Sand, Ary Scheffer, Berlioz, and Ivan Turgenev, who loved her devotedly for forty years, although she was married to Louis Viardot for the whole of that time. She was a linguist, artist, composer and talented pianist who studied with Franz Liszt, as well as being a superb singer and actress. Liszt admired her songs and said that she was the first woman composer of genius. Her talent for friendship was great, and she counted Chopin and George Sand as two of her most intimate friends. From 1863 until 1870, she lived in Baden-Baden where she became a celebrated musical hostess, as well as a fine teacher and composer. This revised edition, which has additional images and an accompanying CD of songs by Viardot sung by the author, traces the life and work of one of the most important singers of the nineteenth century, Pauline Viardot Garcia. Her influence on figures such as Meyerbeer, Turgenev, Berlioz, Gounod and Liszt, makes this volume, only the second to appear in English, indispensable to the musicologist with an interest in the nineteenth century.