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The Phenomenology of Revelation in Heidegger, Marion, and Ricoeur provides a critical framework for understanding the phenomenology of revelation through a series of close readings that serve as the basis for an imagined dialogue between Martin Heidegger, Jean-Luc Marion, and Paul Ricoeur. Adam J. Graves distinguishes between two dominant approaches to revelation: a "radical" approach that seeks to disclose a pre-linguistic experience of revelation through a radicalization of the phenomenological reduction, and a "hermeneutical" one that characterizes revelation as an eruption of meaning arising from our encounter with concrete symbols, narratives, and texts. According to Graves, the radical approach is often driven by a misplaced concern for maintaining philosophical rigor and for avoiding theological biases, or "contaminations." This preoccupation leads to a process of "counter-contamination" in which the concept of revelation is ultimately estranged from the phenomenon's rich historical and linguistic content. While Ricoeur's hermeneutic phenomenology may do a better job of accommodating the concrete content of revelation, it does so at the price of having to renouncing the kind of "presuppositionlessness" generally associated with phenomenological method. Ultimately, Graves argues that a more nuanced appreciation of the complex nature of our linguistic inheritance enables us to reconceive the relationship between revelation and philosophical thought.

Explores the personal narratives of transitions and transformations experienced by academic leaders of teaching and learning during the times of crises within different national, institutional and disciplinary contexts.

How is music affected by its translation, interpretation and adaptation with, through, and by dance? How might notation of dance and music act as a form of translation? How does music influence the creation of dance? How might dance and music be understood to exchange and transfer their content, sense and process during both the creative process and the interpretative process? Bringing together chapters that explore theory and practice, this book questions the process and role translation has to play in the context of music and dance. It provides a range of case studies across this interdisciplinary field, and is not restricted by genre, style or cultural location. As one of very few volumes to explore translation in relation to music and to overtly tackle this topic in terms of dance, it moves the argument from a broad notion of text and translation, to think critically about the sound and movement arts of music and dance, using translation as a model to better understand the collaboration of these art forms.

This book challenges the developmentalist paradigm that dominates research into children and childhood, focusing on observation as a research method. It offers new postdevelopmental ways of conducting childhood observations which are diverse in context and theoretical orientation, and in the process, deconstructs the dominant traditions of childhood research. Written by leading scholars based in Canada, Norway, the UK, and the USA, the chapters consider observation as it is enacted in the home, nursery or classroom. Drawing on a range of theories including feminist new materialism, social semiotics, and posthumanism, the chapters cover a range of topics including reciprocal methods, photography, childhood art, and memoir.

They say you should keep your enemies closer.For Fliss, the prospect of a team building work trip fills her with dread. Mostly because she cannot stand her pushy colleague James, who often attempts to derail her brilliant plans. But when the two arrive in the Scottish Highlands, they find themselves facing a unique challenge: their boss has abandoned them in the middle of nowhere with only one tent, two sleeping bags and a few protein bars.Cut off from the outside world, the pair are forced to put aside their differences to weather the unpredictable elements of the Highlands and get home. As they set out on a journey across miles of rugged wilderness - pushing each other to survive and testing their physical and emotional limits - they remain fully aware of their boss's manipulative plan to orchestrate a hook up between them.But even with only each other for company, Fliss and James stand firm in their resolve: they won't give in to any romantic notions. Or will they?

Inspired by a true story, acclaimed author of In My Dreams I Hold a Knife and Midnight is the Darkest Hour Ashley Winstead descends into the underworld of true-crime amateur sleuths in a chilling first-person account of one woman's role in the investigation of the gruesome slaying of three small-town university students.

This volume assesses the accomplishments of three mid-20th-century, North American stage directors: Harold Clurman, Orson Welles, and Margo Jones. Though their theatre-making endeavours were distinct, each produced work that challenged preconceived notions of theatre-making, all while working within the structure of a company. As directors drawn to the potential rewards of collaboration, all also were keenly adept at understanding how the relationship with a company of collaborators is often marked by struggle and crisis. The essays in this volume explore how these accomplished directors not only created bold work, but also drew on the complex energies of the theatre companies with which they worked to reimagine the shape and scope of theatre directing. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each major North American theatre director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

This volume assesses the contributions of David Belasco, Arthur Hopkins, and Margaret Webster, whose careers shaped the artistic and specialist identity of the Broadway director. Their work spans almost a century and captures the rapidly changing social and cultural landscape of 20th-century America. While their aesthetic styles differed greatly, they were united in their mastery of theatre craft and their impact on theatrical collaboration. The essays in this volume explore how these directors established and exploited Broadway as the epicentre of theatre in the United States, blended the role of producer and director, and managed the tensions between commercial success and artistic ambition. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

Beatrice has been lied to her whole life.Beatrice Barbary has been raised to believe that while education will set her mind free, there are some questions better left unanswered.Her life is in disarray.But when her father, one of the most powerful men in Bern, is brutally murdered in their own home, she is left reeling, unprotected and vulnerable.Her future uncertain.Plunging head first into the mysteries surrounding her father and her own upbringing, Beatrice discovers The Order of St. Eve and the violent secrets they have been hiding her entire life. It's time for her to take control.Will she be able to right the wrongs of her father, or will the Order silence her first?Set in a city at breaking point, Beatrice's story tows the dangerously thin line between retribution and revenge, and the choice we must make when confronted by evil.

The three directors gathered in this volume all approach theatre-making in part as an act of citizenship. Jesusa Rodríguez, Peter Sellars, and Reza Abdoh differ markedly in many important respects, but they all come to the theatre as an intervention in the public sphere. Rodríguez, Sellars, and Abdoh blend a spirit of social critique with acts of democratic community building. These essays examine how theatre, for them, is not a sphere of aesthetic experience insulated from the divisions, antagonisms, and alliances of a conflicted society. It is a way to forge fleeting but consequential communities that might reverberate through that society and affect its future development. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

This volume focuses on three artists who embrace media and technology as essential elements of their theatrical expression: Elizabeth LeCompte, Ping Chong, and Robert Lepage. Diverse in their aesthetic interests, they nevertheless share an approach to directing that includes technological media on stage as central to a rigorously crafted production concept. Technological elements live alongside and negotiate with the theatre's human players, disclosing, shaping, and even intruding on the dramas they enact. The essays in this volume explore how all three directors have provided decisive responses to a question that has dogged the theatre for at least the last century: what relationship can theatre, an art form grounded in live, ephemeral, expression, have to technology? The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

This volume assesses the work of Meredith Monk, Richard Foreman, and Robert Wilson, three artists who have revolutionized the craft of directing and the art of theatre in both related and unique ways. Though their early artistic backgrounds differ, ranging from architecture, music and dance to writing, they are similar in that none of them began their career as a director per se or received formal training as such. They each assumed the director's role based on the demands of their complex artistic visions, which combine art forms, but resist synthesis, finding expression in the differences and tensions between the forms. The essays in this volume explore how these auteur directors combine text, movement, film, sound and music, installation and visual arts to achieve their visions, employing multi-perceptual modes to evoke full and rich theatrical experiences. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

Richard Schechner, Lee Breuer, and Anne Bogart share a spirit of profound adventure and that adventure is the redefinition of theatre itself. They are rare hybrids; the confluence of their theatrical roles as directors, scholars, theorists and teachers has placed them among the most influential thinker/practitioners of their generation. This book reveals the ways in which their consistent inquiry enabled them to re-examine, re-frame, and re-invent their own practice. The essays in this volume explore the ways in which Schechner, Breuer and Bogart have established powerful legacies of consistently innovative theatre most often created in the company of an ensemble of collaborative artists. Their influence is undeniable in the reformulation of theatre practices from the 1970s onward. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

George Abbott, Vinnette Carroll, and Harold (Hal) Prince were trailblazing figures who helped shape and define the Broadway musical over the course of the 20th century. Their careers expanded the boundaries of the genre, highlighting the critical role of the director in the creation of a new musical. As theatre history, the essays in this volume help to complicate and deepen the reader's understanding of the musical genre of Broadway and of the enduring legacies of these three pioneers. As lessons in theatrical direction, they illustrate the particular issues involved in directing musicals, as well as the stakes of working commercially at the highest levels of the industry. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

This volume chronicles the lives and artistry of Elia Kazan, Jerome Robbins, and Lloyd Richards. Their commitment to staging new works, which often focused on the experiences of immigrant and working-class families, significantly expanded the scope and possibilities of American theatre across the 20th century. It illuminates too their collaborations with a range of innovative theatre artists, including Lee Strasberg, Clifford Odets, Marlon Brando, Arthur Miller, Tennessee Williams, Lorraine Hansberry, Leonard Bernstein, Stephen Sondheim, and August Wilson. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

"This volume examines modern questions around psychiatry through a historical lens, teasing apart associations with ancient medicine, philosophy and myth to demonstrate how these reflect internal contradictions and ambiguities within modern conceptions of mental illness and its treatment. By exploring a series of explanatory models and diagnoses, and mapping key connections between ancient and modern frameworks, it demonstrates how the process of exploring the connections between modern and ancient psychiatry can illuminate modern understandings of mental illness, its therapies, and its place in contemporary society and culture"--

Based on the online blogs of acclaimed historian and author Ada Palmer, Inventing the Renaissance provides a fresh perspective on what makes this period one of the most captivating and unique parts of European history.

Whether watching Studio Ghibli adaptations of British children's books, visiting Harry Potter sites in Britain or eating at Alice in Wonderland-themed restaurants in Tokyo, the Japanese have a close and multifaceted relationship with British children's literature. In this, the first comprehensive study to explore this engagement, Catherine Butler considers its many manifestations in print, on the screen, in tourist locations and throughout Japanese popular culture. Taking stock of the influence of literary works such as Gulliver's Travels, Alice's Adventures in Wonderland, The Tale of Peter Rabbit, Tom's Midnight Garden, and the Harry Potter series, this lively account draws on literary criticism, translation, film and tourist studies to explore how British children's books have been selected, translated, understood, adapted and reworked into Japanese commercial, touristic and imaginative culture. Using theoretically informed case studies this book will consider both individual texts and their wider cultural contexts, translations and adaptations (such as the numerous adaptations of British children's books by Studio Ghibli and others), the dissemination of distinctive tropes such as magical schools into Japanese children's literature and popular culture, and the ways in which British children's books and their settings have become part of way that Japanese people understand Britain itself.

A lively and thorough exploration of the aesthetic, metaphysical, ethical, political, and legal implications of Taylor Swift's ongoing project of re-recording her first six studio albums.When Taylor Swift's record label was sold in 2019, the six studio albums she recorded for them came under the control of a person with whom she has had years of bad blood: Kanye West's former manager Scooter Braun. But rather than move on, Swift chose to take the unprecedented step of re-recording duplicate versions of those albums. With all of the profits made from selling, streaming, and licensing these "Taylor's Versions" going directly to Swift, she could deprive Braun of potentially hundreds of millions of dollars. The gambit has already paid off. The first two Taylor's Versions (of Fearless and Red) debuted at Number 1 on the Billboard charts and have sold over one million copies so far; and four more are still on the way. In this book, ten philosophers, a music producer and a composer/music technologist explore the philosophical richness of Swift's project and the questions it raises: Are Swift's re-recordings new works of art or mere copies of the originals? Do the Taylor's Versions of the songs have the same meanings as the original versions, or do they now mean something different? Is her re-recording project genuinely artistic or merely commercial? Is Swift standing up for artists' rights or looking out for herself? Does the music industry exploit artists, and, if so, how should it be reformed? Together they show the philosophical dividends one of the most famous and acclaimed recording artists of her generation is capable of producing. For anyone interested in the complicated relationship between popular art and commerce this book is a must-read.

Pulp Fiction was one of the films that defined American cinema of the 1990s, and remains one of the stand-out movies of its director Quentin Tarantino. Tarantino's style - violent, fast, funny and full of knowing pop culture references - epitomises 90s post-modernism. Pulp Fiction was a phenomenal cult success and one of the first films to generate hot debate in internet chatrooms and on fan websites.Dana Polan's compelling analysis sets out to uncover the style and technique of Pulp Fiction. He shows how broad Tarantino's points of reference are, and analyzes the film's narrative accomplishment and complexity. Where some critics dismissed Pulp Fiction for its violence and its worship of a certain brand of cool, Polan shows how the film exemplifies new kinds of engagement with cultural and social codes, such as those around racial identity. In addition, Polan argues that the film's celebration of macho attitudes is more nuanced than might first appear. In a new afterword to this new edition, Polan looks back on Pulp Fiction 30 years after its first release.