From the director of "Willy Wonka and the Chocolate Factory" comes a dazzling retrospective celebrating the legacy of this beloved film. 100+ photos, many in color.

Sam S. Shubert Theatre, David Merrick, in association with Bernard Delfont presents Anthony Newley in "Stop the World, I Want to Get Off," with Anna Quayle, Jennifer Baker, Susan Baker, a new-style musical, book, music and lyrics by Leslie Bricusse and Anthony Newley, setting and lighting by Sean Kenny, musical supervision by Ian Fraser, musical director Milton Rosenstock, orchestrations by Ian Fraser with David Lindup, Burt Rhodes, Gordon Langford, John Broome's choreography restaged by Virginia Mason, directed by Anthony Newley.

Wonka Bars...Oompa-Loompas...The Candy Man...The Gobstopper Machine...A Chocolate River...The Fizzy Lifting Room...Lickable Wallpaper... Revisit the magical world of "Willy Wonka and the Chocolate Factory" in this behind-the-scenes look at one of the most popular films of all time! Ever since Willy Wonka and the Chocolate Factory was released over thirty years ago, millions of viewers have fallen in love with this unforgettable movie based on the classic novel by Roald Dahl. Now from the film's director Mel Stuart, comes Pure Imagination, the first book ever written on the blockbuster picture that won over kids and adults alike, making it the legacy that it is today. From how Willy Wonka went from the page to the screen--Stuart's twelve-year-old daughter asked him to make a movie of her favorite book--to each step that was involved, beginning with the pre-production stage, the development of the set design to shooting and editing Willy Wonka and the Chocolate Factory, here is a full, insider account of all you've ever wanted to know about the film. Filled with over one hundred lavish photographs of the production, most of which have never been seen, Pure Imagination is the ultimate companion piece for lovers of the film. Stuart's engaging, light-hearted manner comes alive on every page as he shares colorful anecdotes, interviews, and fascinating trivia, such as the untold story of why the Oompa-Loompas have orange faces and green hair, and little-known facts, including how Gene Wilder was chosen to play the part of Willy Wonka. He describes how the film became a huge hit, and why it still captures the imaginations of audiences today. A dazzling, visual retrospective celebrating the magic of Willy Wonka and the Chocolate Factory, Pure Imagination is sure to be a collector's item and will make the perfect gift for anyone-whether they are fans of this timeless film, or have just discovered it for the first time.

By engaging with the notions of indeterminacy and embodiment within the writings of Immanuel Kant, Johann Fichte and Cornelius Castoriadis, this book addresses and brings to the fore the significance of the creative imagination as an ontological source of human creation. Principally inspired by Castoriadis’ revolutionary elucidation of the imagination and the imaginary, this book actively contributes to this neglected line of enquiry by exposing deep lines of continuity and rupture both within and between the writings of Kant, Fichte, and Castoriadis. Beginning with Kant’s hesitation in describing the productive imagination as a creative and embodied power of the soul, this book traces these lines of continuity and rupture through Fichte’s innovative depiction of the creative imagination as an ontological power of creation and through Castoriadis’ radical extension of this idea into the social-historical realm. Given the notions of indeterminacy and embodiment actively inform these lines of continuity and of rupture, this book contributes to the landscape of thinking by proposing the creative imagination must be envisaged an embodied power of the human soul.

(Faber Piano Adventures ). This book is a treasury of the most popular and most requested masterworks of Western music. The selections are taken from original non-keyboard sources and arranged to create a "big" sound while remaining within the intermediate level. Contents include: Arioso (from Cantata No. 156) by J.S. Bach * Canon in D by Pachelbel * Danse Macabre by Saint-Saens * The Great Gate of Kiev (from Pictures at an Exhibition ) by Mussorgsky * Habanera (from the opera Carmen ) by Bizet * Hornpipe (from Water Music ) by Handel * Hungarian Dance No. 5 by Brahms * Liebesfreud by Kreisler * Rondeau (from Suite de Symphonies No. 1 ) by Mouret * Russian Sailor's Dance (from the opera Sadko ) by Rimsky-Korsakov * Spring Song by Mendelssohn * Tales from the Vienna Woods (Opus 325) by J. Strauss, Jr. * Theme from Symphony No. 40 by Mozart.

For close to a thousand years Amida’s Pure Land, a paradise of perfect ease and equality, was the most powerful image of shared happiness circulating in the Japanese imagination. In the late nineteenth century, some Buddhist thinkers sought to reinterpret the Pure Land in ways that would allow it speak to modern Japan. Their efforts succeeded in ways they could not have predicted. During the war years, economist Kawakami Hajime, philosopher Miki Kiyoshi, and historian Ienaga Saburō—left-leaning thinkers with no special training in doctrinal studies and no strong connection to any Buddhist institution—seized upon modernized images of Shinran in exile and a transcendent Western Paradise to resist the demands of a state that was bearing down on its citizens with increasing force. Pure Land, Real World treats the religious thought of these three major figures in English for the first time. Kawakami turned to religion after being imprisoned for his involvement with the Japanese Communist Party, borrowing the Shinshū image of the two truths to assert that Buddhist law and Marxist social science should reinforce each other, like the two wings of a bird. Miki, a member of the Kyoto School who went from prison to the crown prince’s think tank and back again, identified Shinran’s religion as belonging to the proletariat: For him, following Shinran and working toward building a buddha land on earth were akin to realizing social revolution. And Ienaga’s understanding of the Pure Land—as the crystallization of a logic of negation that undermined every real power structure—fueled his battle against the state censorship system, just as he believed it had enabled Shinran to confront the world’s suffering head on. Such readings of the Pure Land tradition are idiosyncratic—perhaps even heretical—but they hum with the same vibrancy that characterized medieval Pure Land belief. Innovative and refreshingly accessible, Pure Land, Real World shows that the Pure Land tradition informed twentieth-century Japanese thought in profound and surprising ways and suggests that it might do the same for twenty-first-century thinkers. The critical power of Pure Land utopianism has yet to be exhausted.

This book addresses the crucial issue of how we value and deploy the idea of “freedom” that underlies contemporary curriculum studies. Whether we are conventional curriculum thinkers who value knowledge development or favor a Deweyan, individualist orientation toward curriculum or are a critical social justice curriculum thinker, at the heart of all these orientations and theorizing is the value of “freedom.” The book addresses “freedom” through novel sources: the work of Martin Buber on education, Julia Kristeva on the uses of imagination and the female/male dialectic, Emmanuel Levinas’ unique approach to ethics, and more. Readers will find new ways to understand freedom and the world of ethical life as informing curriculum thinking. It provides a more ecumenical vision that can draw our differences together. It helps readers to reconsider ourselves in fruitful ways that can bring more relevance and substance to the field.