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Six Berlin-based artists set out in search of their inner self and travelled down paths that could not be more diverse: Frauke Bohge, Catherine Bourdon, Andrea Cataudella, Sayyora Muin, Katrin Salentin and Anna-Lisa Unkuri expressed their respective self-enquiry through painting, drawing, collage-making, photography, sculpture, and installation. However, none of them provide any absolute answers to their questions, nor ever fully expose their innermost selves.Singer-songwriter Jan Plewka contributes a lyrical exploration to the project (together with his colleague Marco Schmedtje) in the form of his song Wie ein Geist (Like a Ghost). In it, he considers the works of the artists and lends words and sound to his thoughts and feelings as an inquisitive observer. (Watch the video at www.von-clowns.com)Text in English and German.

Through dreams and shadows and strangeness, through blinding charms and eye-opening counter-charms, through moments of mortification and laughter—thus Stuart M. Tave traces the journey of the lovers, clowns, and fairies who populate comedies from A Midsummer Night's Dream to Waiting for Godot. Tave avoids the pitfalls of theory, taking instead a close look at particular works to give us a sense of the relations between certain dramas and novels that are called comedies. The result is a wonderfully readable book that renews our delight in the enchanting possibilities of literature. A Midsummer Night's Dream, in its "perfection," is Tave's point of departure. Its characters fall neatly into the three groups of Tave's title and fulfill to perfection their functions of desire, foolishness, and power. From the magical concord of Shakespeare's resolution, Tave moves to works whose character face ever greater difficulties in reaching a happy conclusion. From Jonson and Austen to Chekhov and Beckett, he meets comedies on their own terms, illuminating the complex and individual genius of each. A masterpiece of practical criticism, Lovers, Clowns, and Fairies rediscovers the pleasure of reading comedies.

The past thirty years have seen dozens of otherwise successful investors try to improve education through the application of market principles. They have funneled billions of dollars into alternative schools, online education, and textbook publishing, and they have, with surprising regularity, lost their shirts. In Class Clowns, professor and investment banker Jonathan A. Knee dissects what drives investors' efforts to improve education and why they consistently fail. Knee takes readers inside four spectacular financial failures in education: Rupert Murdoch's billion-dollar effort to reshape elementary education through technology; the unhappy investors-including hedge fund titan John Paulson-who lost billions in textbook publisher Houghton Mifflin; the abandonment of Knowledge Universe, Michael Milken's twenty-year mission to revolutionize the global education industry; and a look at Chris Whittle, founder of EdisonLearning and a pioneer of large-scale transformational educational ventures, who continues to attract investment despite decades of financial and operational disappointment.Although deep belief in the curative powers of the market drove these initiatives, it was the investors' failure to appreciate market structure that doomed them. Knee asks: What makes a good education business? By contrasting rare successes, he finds a dozen broad lessons at the heart of these cautionary case studies. Class Clowns offers an important guide for public policy makers and guardrails for future investors, as well as an intelligent expose for activists and teachers frustrated with the repeated underperformance of these attempts to shake up education.

The past thirty years have seen dozens of otherwise successful investors try to improve education through the application of market principles. They have funneled billions of dollars into alternative schools, online education, and textbook publishing, and they have, with surprising regularity, lost their shirts.In Class Clowns, professor and investment banker Jonathan A. Knee dissects what drives investors' efforts to improve education and why they consistently fail. Knee takes readers inside four spectacular financial failures in education: Rupert Murdoch's billion-dollar effort to reshape elementary education through technology; the unhappy investors—including hedge fund titan John Paulson—who lost billions in textbook publisher Houghton Mifflin; the abandonment of Knowledge Universe, Michael Milken's twenty-year mission to revolutionize the global education industry; and a look at Chris Whittle, founder of EdisonLearning and a pioneer of large-scale transformational educational ventures, who continues to attract investment despite decades of financial and operational disappointment.Although deep belief in the curative powers of the market drove these initiatives, it was the investors' failure to appreciate market structure that doomed them. Knee asks: What makes a good education business? By contrasting rare successes, he finds a dozen broad lessons at the heart of these cautionary case studies. Class Clowns offers an important guide for public policy makers and guardrails for future investors, as well as an intelligent exposé for activists and teachers frustrated with the repeated underperformance of these attempts to shake up education.

Includes the full German text, accompanied by German-English vocabulary. Notes and a detailed introduction in English put the work in its social and historical context.

The first of these two novels is about a painter, Brazilian by birth and British by adoption, living and working in London with his wife, whose equally varied spiritual and cultural inheritance complements his. Wilson Harris evokes with vividness and characteristic imaginative power the daily life and landscape of the city. The setting of Genesis of the Clowns returns to the jungle hinterland of its author's native Guyana. A government surveyor and his gang, for whose work and well-being he is responsible, are exploring and recording the course and currents of the remote upper reaches of the ancient rivers. Unexpected incidents and tensions in the formal and personal relationships between the surveyor and his men have mysterious consequences with effects and implications far beyond the immediate time and place.

Herb Gardner Comedy Characters: 4 male, 1 female, 12 year-old boy 2 Interior scenes This benchmark of Broadway comedy produced one of the theatre's most beloved roles: unconventional Murray, uncle to precocious nephew, Nick. Tired of writing cheap comedy gags for "Chipper the Chipmunk", a children's television star, Murray finds himself unemployed with plenty of free time with which to pursue his...pursuits. Lectured by his conventional brother Arnold and hounded by "the system", Murray is paid a visit by bickering, uptight social workers, Sandra and Albert, and finds himself solving their problems as well as most of his own. "Would be a standout comedy in any season. Filled with laughter and warmth and sweetness and inspired daffiness. One of the quintessential New York comedies."-New York Daily News "An extraordinarily funny play with some brilliantly offbeat lines."-The New York Post

The 1930s are routinely considered sound film's greatest comedy era. Though this golden age encompassed various genres of laughter, clown comedy is the most basic type. This work examines the Depression decade's most popular type of comedy--the clown, or personality comedian. Focusing upon the Depression era, the study filters its analysis through twelve memorable pictures. Each merits an individual chapter, in which it is critiqued. The films are deemed microcosmic representatives of the comic world and discussed in this context.While some of the comedians in this text have generated a great deal of previous analysis, funnymen like Joe E. Brown and Eddie Cantor are all but forgotten. Nevertheless, they were comedy legends in their time, and their legacy, as showcased in these movies, merits rediscovery by today's connoisseur of comedy. Even this book's more familiar figures, such as Charlie Chaplin and the Marx Brothers, are often simply relegated to being recognizable pop culture icons whose work has been neglected in recent years. This book attempts to address these oversights and to re-expose the brilliance and ingenuity with which the screen clowns contributed a comic resiliency that was desperately needed during the Depression and can still be greatly appreciated today. The films discussed are City Lights (1931, Chaplin), The Kid From Spain (1932, Cantor), She Done Him Wrong (1933, Mae West), Duck Soup (1933, Marx Brothers), Sons of the Desert (1933, Laurel and Hardy), Judge Priest (1934, Will Rogers), It's a Gift (1934, W.C. Fields), Alibi Ike (1935, Brown), A Night at the Opera (1935, Marx Brothers), Modern Times (1936, Chaplin), Way Out West (1937, Laurel and Hardy), and The Cat and the Canary (1939, Bob Hope).

Children, octogenarians, and everyone in between know the work of William Steig, the beloved cartoonist and award-winning children’s book author whose work graced the covers and pages of the New Yorker for more than 70 years. In Cats, Dogs, Men, Women, Ninnies & Clowns: The Lost Art of William Steig, Jeanne Steig uncovers more than 450 never-before-published cartoons by her husband and provides personal insight and anecdotes about his work and her relationship with Bill, shedding new light on this celebrated genius.Praise for Cats, Dogs, Men,Women, Ninnies & Clowns: "A treasure trove of hundreds of previously unpublished illustrations by children’s book icon Steig, this compendium is organized thematically (people, dogs, “odd ducks,” etc.); the late Steig’s wife, Jeanne, introduces each section with delightful, insightful anecdotes. “He used to refer to us fondly as ‘a couple of cats,’ or perhaps more romantically as ‘two rolls on a plate,’ ” she writes. Of course, the best sense of the man behind Shrek!, Sylvester and the Magic Pebble, and other favorites is gained from the strange, free, and wholly original artwork that fill the pages with caricatured portraits, animals a’courting, drunken clowns, knife fights, and creatures impossible to name. Taken as a whole, the glorious lunacy is testimony to a true iconoclast."-- Publishers Weekly, starred review“What a splendid gift it would be if the works tearing up the best-seller lists weren’t that of a Stieg Larsson, but a Steig, William.” —New York Times The Moment blog “Pure pleasure from cover to cover” —Booklist “The book details a great character, and does so with a remarkable charm. Highly recommended for all interested in comic history and everyone who likes to look on the lighter side of life.” —Complex.com

Bad clowns—those malicious misfits of the midway who terrorize, haunt, and threaten us—have long been a cultural icon. This book describes the history of bad clowns, why clowns go bad, and why many people fear them. Going beyond familiar clowns such as the Joker, Krusty, John Wayne Gacy, and Stephen King’s Pennywise, it also features bizarre, lesser-known stories of weird clown antics including Bozo obscenity, Ronald McDonald haters, killer clowns, phantom-clown abductors, evil-clown panics, sex clowns, carnival clowns, troll clowns, and much more. Bad Clowns blends humor, investigation, and scholarship to reveal what is behind the clown’s dark smile.

Poor Lewis hates being a puffin. His brother Harris is great at catching fish, flying and doing puffin things, but Lewis just doesn't fit in. He longs for a different life, far away from the crashing waves and tall cliffs of the Firth of Forth. But what else can a puffin do?Then, 'Eureka!' Lewis finds the answer, and heads off to the circus to become a clown. He meets many incredible creatures: Carla Koala, Zorro the Highwire Cat, the Flying Blue Monkeys and Daredevil Pat. But when his act goes terribly wrong, can Lewis overcome his fears, find some confidence and save the day?A charming and hilarious rhyming picture book about a young misfit puffin who learns that it's okay to be different. The story is brought to life with colourful, characterful illustrations by Gabby Grant.

Clowns and tricksters are well-known figures in cultures throughout the world. In Western culture the clown conjures up images of carnivals and foolish characters in face paint. In non-Western cultures, clowns hold privileged status in religious ceremonies and origin myths. Tricksters on the other hand are identified as disobedient, obscene, disrespectful, funny, powerful, paradoxical characters in almost every culture in which they are found. This encyclopedia surveys, from a cross-cultural perspective, the similarities and differences between clowns and tricksters in world cultures. It presents each character in the context of the culture in which he or she is found.