Gail Holst-Warhaft – författare

In Dangerous Voices Holst-Warhaft investigates the power and meaning of the ancient lament, especially women's mourning of the dead, and sets out to discover why legislation was introduced to curb these laments in antiquity. An investigation of laments ranging from New Guinea to Greece suggests that this essentially female art form gave women considerable power over the rituals of death. The threat they posed to the Greek state caused them to be appropriated by male writers including the tragedians. Holst-Warhaft argues that the loss of the traditional lament in Greece and other countries not only deprives women of their traditional control over the rituals of death but leaves all mourners impoverished.

In Dangerous Voices Holst-Warhaft investigates the power and meaning of the ancient lament, especially women's mourning of the dead, and sets out to discover why legislation was introduced to curb these laments in antiquity. An investigation of laments ranging from New Guinea to Greece suggests that this essentially female art form gave women considerable power over the rituals of death. The threat they posed to the Greek state caused them to be appropriated by male writers including the tragedians. Holst-Warhaft argues that the loss of the traditional lament in Greece and other countries not only deprives women of their traditional control over the rituals of death but leaves all mourners impoverished.

Taking a uniquely interdisciplinary view of the Eastern Mediterranean region's water problems, this book considers some of the technical and regulatory solutions being proposed or implemented to solve the difficulties of diminished or polluted water supplies. Stressing the importance of traditional and historical cultural understanding in addressing the water crisis, the authors demonstrate that what is required is an integrated legal, social and scientific management system appropriate to each country's stage of development and their cultural heritage. Using case studies from Lebanon, Italy, Spain, Egypt, Greece, Jordan and Cyprus, the authors focus on the urgency of the present crisis faced by each country and the need for cooperation. The suggested solutions also serve as a paradigm for the rest of the world as it faces similar issues of water shortage.

The Classical Moment is a reexamination of the concept of a supreme moment in the literatures of Greece, Mesopotamia, India, China, Japan, Korea, and Vietnam. Taking the case of Greece as its starting point, it examines what such "moments" have in common, how they are created, and what effect they have on subsequent literary creation.

Taking a uniquely interdisciplinary view of the Eastern Mediterranean region's water problems, this book considers some of the technical and regulatory solutions being proposed or implemented to solve the difficulties of diminished or polluted water supplies. Stressing the importance of traditional and historical cultural understanding in addressing the water crisis, the authors demonstrate that what is required is an integrated legal, social and scientific management system appropriate to each country's stage of development and their cultural heritage. Using case studies from Lebanon, Italy, Spain, Egypt, Greece, Jordan and Cyprus, the authors focus on the urgency of the present crisis faced by each country and the need for cooperation. The suggested solutions also serve as a paradigm for the rest of the world as it faces similar issues of water shortage.

Ambrose Erswell ran away from home in London’s East End when he was seven years old, lived on the streets and joined a gang of child pickpockets. At nine he signed on as a “ship’s boy” on a clipper ship sailing to South America — an experience so grim he vowed never to go to sea again. In a bicycle shop, where he found a job, he saw his first automobile. It was the beginning of a lifelong passion for cars. By twelve years of age he’d become a chauffeur. When he saw The Silver King, a melodrama in which the wronged hero is redeemed after making a fortune in a silvermine in South America, he decided that his life must follow a similar trajectory. Like the hero of the play, this cockney lad, who would eventually (in his mid-fifties) become the author’s father, left England and made a fortune in an unlikely business in Australia. The author traces her attraction to the music of the Piraeus underworld and the men who sang the rembetika to her father and to the Music Hall songs she was raised on.