Founded in 1941, the annual journal Dumbarton Oaks Papers is dedicated to the publication of articles relating to late antique, early medieval, and Byzantine civilization in the fields of art and architecture, history, archaeology, literature, theology, law, and auxiliary disciplines.
This issue includes “The Canon Tables of the Psalms: An Unknown Work of Eusebius of Caesarea” by Martin Wallraff; “Histoires ‘Gothiques’ à Byzance: Le Saint, Le Soldat, et Le Miracle d’Euphémie et du Goth (BHG 739)” by Charis Messis and Stratis Papaioannou; “Reassessing the Sarcophagi of Ravenna” by Edward M. Schoolman; “Sources for the Study of Liturgy in Post-Byzantine Jerusalem (638–1187 CE)” by Daniel Galadza; “(Re)Mapping Medieval Antioch: Urban Transformations from the Early Islamic to the Middle Byzantine Periods” by A. Asa Eger; “Melkites and Icon Worship during the Iconoclastic Period” by Juan Signes Codoñer; “The Anzas Family: Members of the Byzantine Civil Establishment in the Eleventh, Twelfth, and Thirteenth Centuries” by John Nesbitt and Werner Seibt; “Viewing and Description in Hysmine and Hysminias: The Fresco of the Virtues” by Paroma Chatterjee; “The Documents of Dominicus Grimani, Notary in Candia (1356–1357)” by Nicky Tsougarakis; and “The Church of Saints Sergius and Bacchus in Kaftūn (Northern Lebanon) and Its Wall Paintings” by Tomasz Waliszewski, Krzysztof Chmielewski, Mat Immerzeel, and Nada Hélou.
This volume is the first to focus exclusively on diasporic filmmaking and the rich cultural diversity within Australian cinema, and it contains previously unpublished articles by some of the foremost experts on Australian cinema in the world. Contributors to Diasporas of Australian Cinema discuss a variety of contemporary and historical filmmaking, encompassing documentaries, features and short films. A number of key feature films are discussed including Forty Thousand Horsemen, Silver City, Wog Boy, Head On, Russian Doll, Japanese Story, and Lucky Miles. Opening with a comprehensive chapter that introduces the organizing concept of this volume, diasporic hybridity, the essays go on to explore migration, Asian-Australian subjectivity, cross-cultural romance, Islamic-Australian identity and “wogsploitation” comedy. A useful reference source for scholars of film, migration, cultural, and Australian studies, Diasporas of Australian Cinema also features a comprehensive filmography listing Australian features, documentaries and shorts with significant diasporic content.
A companion workbook offers a rich variety of graded practice exercises in grammar and vocabulary. A key to all the exercises is included at the end of the workbook.
This two-CD set is designed to accompany Discovering Albanian 1 Textbook. Featuring the voices of native speakers, the CDs include all of the dialogs, readings, and vocabulary in the textbook.
In Dates, Nawal Nasrallah draws on her experience of growing up in the lands of ancient Mesopotamia, where the date palm was first cultivated, to explore the history behind the fruit. Dates have an important role in their arid homeland of the Middle East, where they are a dietary staple and can be consumed fresh or dried, as a snack or a dessert, and are even thought to have aphrodisiac qualities.
In this history, Nasrallah describes the central role the date palm has played in the economy of the Middle East. This informative account of the date palm’s story follows its journey from its land of origin to the far-flung regions where it is cultivated today. Along the way, Nasrallah weaves many fascinating and humorous anecdotes that explore the etymology, history, culture, religion, myths, and legends surrounding dates. For example, she explains how the tree came to be a symbol of the Tree of Life and associated with the fiery phoenix bird, the famous ancient goddess Ishtar, and the moon, and how the medjool date acquired its name.
This delightful and unusual book is generously illustrated with many beautiful images, and supplemented with more than a dozen delicious date recipes for savory dishes, sweets, and wine.
The common explanation for the outbreak of World War I depicts Europe as a minefield of nationalism, needing only the slightest pressure to set off an explosion of passion that would rip the continent apart. But in a crucial reexamination of the outbreak of violence, Michael S. Neiberg shows that ordinary Europeans, unlike their political and military leaders, neither wanted nor expected war during the fateful summer of 1914. By training his eye on the ways that people outside the halls of power reacted to the rapid onset and escalation of the fighting, Neiberg dispels the notion that Europeans were rabid nationalists intent on mass slaughter. He reveals instead a complex set of allegiances that cut across national boundaries.
Neiberg marshals letters, diaries, and memoirs of ordinary citizens across Europe to show that the onset of war was experienced as a sudden, unexpected event. As they watched a minor diplomatic crisis erupt into a continental bloodbath, they expressed shock, revulsion, and fear. But when bargains between belligerent governments began to crumble under the weight of conflict, public disillusionment soon followed. Yet it was only after the fighting acquired its own horrible momentum that national hatreds emerged under the pressure of mutually escalating threats, wartime atrocities, and intense government propaganda.
Dance of the Furies gives voice to a generation who found themselves compelled to participate in a ghastly, protracted orgy of violence they never imagined would come to pass.
Around 12,000 B.C., groups of leather-clad Paleoindians passed through the juncture of the South Platte River and Cherry Creek, following the herds of mammoth or buffalo they hunted. In the Archaic period, people rested under the shade of trees along the riverbanks, with baskets full of plums as they waited for rabbits to be caught in their nearby snares. In the early Ceramic period, a group of mourners adorned with yellow pigment on their faces and beads of eagle bone followed Cherry Creek to the South Platte to attend a funeral at a neighboring village. And in 1858, the area was populated by the crude cottonwood log shacks with dirt floors and glassless windows, the homes of Denver's first inhabitants.
For at least 10,000 years, Greater Denver has been a collection of diverse lifeways and survival strategies, a crossroads of interaction, and a locus of cultural coexistence. Setting the scene with detailed descriptions of the natural environment, summaries of prehistoric sites, and archaeologists' knowledge of Denver's early inhabitants, Nelson and her colleagues bring the region's history to life. From prehistory to the present, this is a compelling narrative of Denver's cultural heritage that will fascinate lay readers, amateur archaeologists, professional archaeologists, and academic historians alike.
While postwar British cinema and the British new wave have received much scholarly attention, the misunderstood period of the 1970s has been comparatively ignored. Don’t Look Now uncovers forgotten but richly rewarding films, including Nicolas Roeg’s Don’t Look Now and the films of Lindsay Anderson and Barney Platts-Mills. This volume offers insight into the careers of important filmmakers and sheds light on the genres of experimental film, horror, rock and punk films, as well as representations of the black community, shifts in gender politics, and adaptations of television comedies. The contributors ask searching questions about the nature of British film culture and its relationship to popular culture, television, and the cultural underground.
Interwoven with Emanuel Swedenborg’s commentary on the Bible is his system of correspondences, which describes the relationship between the spiritual and the physical worlds in symbolic terms. For Swedenborg, specific people, places, animals, and objects represented spiritual principles or ideas—for example, light corresponds to truth, and darkness to ignorance. Using this system, he interpreted the Bible in a radically new way, using it to illuminate the path to spiritual growth.
First compiled in the decades following Swedenborg’s death, the Dictionary of Correspondences has been continually revised and reprinted for over two hundred years. It provides an essential reference to Swedenborg’s complex thought that can be used by students, scholars, and the curious alike.
A uniquely personal record of a great artist’s experience of mental illness
In his prime, Vaslav Nijinsky (1889-1950) was the most celebrated man in Western ballet--a virtuoso and a dramatic dancer such as European and American audiences had never seen before. After his triumphs in such works as The Specter of the Rose and Petrouchka, he set out to make ballets of his own, and with his Afternoon of a Faun and The Rite of Spring, created within a year of each other, he became ballet’s first modernist choreographer.
For six weeks in early 1919, as his tie to reality was giving way, Nijinsky kept a diary--the only sustained daily record we have, by a major artist, of the experience of entering psychosis. In some entries he is filled with hope. He is God; he will save the world. In other entries, he falls into a black despair. He is dogged by sexual obsessions and grief over World War I. Furthermore, he is afraid that he is going insane.
The diary was first published in 1936, in a version heavily bowdlerized by Nijinsky’s wife. The new edition, translated by Kyril FitzLyon, is the first complete and accurate English rendering of this searing document. In her introduction, noted dance critic Joan Acocella tells Nijinsky’s story and places it in the context of early European modernism.
In 1932, two years after D. H. Lawrence’s death, a young woman wrote a book about him and presented it to a Paris publisher. She recorded the event in her diary: “It will not be published and out by tomorrow, which is what a writer would like when the book is hot out of the oven, when it is alive within oneself. He gave it to his assistant to revise.” The woman was Anaïs Nin.
Nin examined Lawrence’s poetry, novels, essays, and travel writing. She analyzed and explained the more important philosophical concepts contained in his writings, particularly the themes of love, death, and religion, as well as his attention to primitivism and to women. But what Anaïs Nin brought to the explication of Lawrence’s writing was an understanding of the fusion of imaginative, intuitive, and intellectual elements from which he drew his characters, themes, imagery and symbolism.
Epic revels.
Nonnos of Panopolis in Egypt, who lived in the fifth century of our era, composed the last great epic poem of antiquity. The Dionysiaca, in forty-eight books, has for its chief theme the expedition of Dionysus against the Indians; but the poet contrives to include all the adventures of the god (as well as much other mythological lore) in a narrative that begins with chaos in heaven and ends with the apotheosis of Ariadne’s crown. The wild ecstasy inspired by the god is certainly reflected in the poet’s style, which is baroque, extravagant, and unrestrained. It seems that Nonnos was in later years converted to Christianity, for in marked contrast to the Dionysiaca, a poem dealing unreservedly with classical myths and redolent of a pagan outlook, there is extant and ascribed to him a hexameter paraphrase of the Gospel of John.
The Loeb Classical Library edition of the Dionysiaca is in three volumes.
Epic revels.
Nonnos of Panopolis in Egypt, who lived in the fifth century of our era, composed the last great epic poem of antiquity. The Dionysiaca, in forty-eight books, has for its chief theme the expedition of Dionysus against the Indians; but the poet contrives to include all the adventures of the god (as well as much other mythological lore) in a narrative that begins with chaos in heaven and ends with the apotheosis of Ariadne’s crown. The wild ecstasy inspired by the god is certainly reflected in the poet’s style, which is baroque, extravagant, and unrestrained. It seems that Nonnos was in later years converted to Christianity, for in marked contrast to the Dionysiaca, a poem dealing unreservedly with classical myths and redolent of a pagan outlook, there is extant and ascribed to him a hexameter paraphrase of the Gospel of John.
The Loeb Classical Library edition of the Dionysiaca is in three volumes.
Epic revels.
Nonnos of Panopolis in Egypt, who lived in the fifth century of our era, composed the last great epic poem of antiquity. The Dionysiaca, in forty-eight books, has for its chief theme the expedition of Dionysus against the Indians; but the poet contrives to include all the adventures of the god (as well as much other mythological lore) in a narrative that begins with chaos in heaven and ends with the apotheosis of Ariadne’s crown. The wild ecstasy inspired by the god is certainly reflected in the poet’s style, which is baroque, extravagant, and unrestrained. It seems that Nonnos was in later years converted to Christianity, for in marked contrast to the Dionysiaca, a poem dealing unreservedly with classical myths and redolent of a pagan outlook, there is extant and ascribed to him a hexameter paraphrase of the Gospel of John.
The Loeb Classical Library edition of the Dionysiaca is in three volumes.
Doctor Who is the longest running science fiction television series in the world and is regularly watched by millions of people across the globe. While its scores of fans adore the show with cult-like devotion, the fan-contributors to this book argue that there is an uncharted dimension to Doctor Who. Bringing together diverse perspectives on race and its representation in Doctor Who, this anthology offers new understandings of the cultural significance of race in the programme – how the show’s representations of racial diversity, colonialism, nationalism and racism affect our daily lives and change the way we relate to each other.
An accessible introduction to critical race theory, postcolonial studies and other race-related academic fields, the 23 contributors deftly combine examples of the popular cultural icon and personal reflections to provide an analysis that is at once approachable but also filled with the intellectual rigor of academic critique.
The Day of the Cattleman was first published in 1929. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
The legend of the Wild West, as celebrated in thousands upon thousands of western stories and movies, radio and television programs, has a firm grip on the imaginations of both young and old, not only in America but in many other lands. But, popular though such versions are, they do not tell how the west was really won. Professor Osgood's account sets the record straight for those who want authentic history rather than melodramatic fiction.
"The range cattleman," Professor Osgood writes, "has more solid achievements to his credit than the creation of a legend. He was the first to utilize the semi-arid plains. Using the most available natural resources, the native grasses, as a basis, he built up a great and lucrative enterprise, attracted eastern and foreign capital to aid him in the development of a new economic area, stimulated railroad building in order that the product of the ranges might get to an eastern market, and laid the economic foundation of more than one western commonwealth."
Professor Osgood traces the rise and fall of the range cattle industry, particularly in Montana and Wyoming, from 1845 to the turn of the century. He gives a detailed account of the activities of the stock growers' associations and of the cattlemen's relations with the railroads and with the Federal government.
The book has won critical acclaim both in this country and abroad. The Saturday Review has described it as an "honest, scientific, and thorough examination" of a "semi-epic phase of Western life, now almost completely dead." In England, the Times Literary Supplement called it "the only substantial record of this particular chapter in the history of the West."
Contributors. David P. Conradt, Russell J. Dalton, Kenneth Dyson, Klaus H. Goetz, Simon Green, Adrian Hyde-Price, Charlie Jeffery, Stephen Padgett, William E. Paterson, Wolfgang Rüdig, Martin Seeleib-Kaiser, Gordon Smith, Roland Sturm
Contributors. David P. Conradt, Russell J. Dalton, Kenneth Dyson, Klaus H. Goetz, Simon Green, Adrian Hyde-Price, Charlie Jeffery, Stephen Padgett, William E. Paterson, Wolfgang Rüdig, Martin Seeleib-Kaiser, Gordon Smith, Roland Sturm
Artistic, intellectual, and appreciably avant-garde, the French film industry has, perhaps more than any other national cinema, been perennially at the center of international filmmaking. With its vigorous business and wide-ranging film culture, France has also been home historically to some of the most influential filmmakers and movements – and, indeed, the very first motion picture was screened in Paris in 1895.
This volume addresses the great directors and key artistic movements, but also ventures beyond these well-established films and figures, broadening the canon through an examination of many neglected but intriguing French films. Framing essays explore the salient stylistic elements, cultural contexts, and the various conceptions of cinema in France, from avant-gardes to filmmaking by women, from documentary and realism to the Tradition of Quality, as well as genres like comedy, crime film, and horror. Illustrated by screen shots, film reviews by leading international experts offer original approaches to both overlooked titles and acknowledged classics. Readers wishing to explore particular topics in greater depth will be grateful for the book’s reading recommendations and comprehensive filmography.
A visually engaging journey through one of the most dynamic, variegated, and idiosyncratic film industries, Directory of World Cinema: France is a must-have for Francophiles and cinema savants.
During the closing years of the sixteenth century, the Dutch East India Company fast became a political and economic force in Asia, en route to becoming the leading private company in the world by 1660. This definitive volume explores perhaps the most important tool in the company’s trade: its ships. Robert Parthesius here reconstructs the complete shipping activities of the Company through a unique database that charts the movements of even previously ignored smaller vessels. Demonstrating that the wide range of types and sizes of vessels were indeed what gave the Company the ability to sail—and to continue its profitable trade—year after year, Dutch Ships in Tropical Waters combines the best of maritime history and archaeological research in order to change our understanding of the logistical dynamics behind one of the most important and successful businesses of this period.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
Antiquity’s original travel guide.
Pausanias, born probably in Lydia in Asia Minor, was a Greek of the second century AD, about 120–180, who traveled widely not only in Asia Minor, Palestine, Egypt, and North Africa, but also in Greece and in Italy, including Rome. He left a description of Greece in ten books, which is like a topographical guidebook or tour of Attica, the Peloponnese, and central Greece, filled out with historical accounts and events and digressions on facts and wonders of nature. His chief interest was in monuments of art and architecture, especially the most famous of them; the accuracy of his descriptions is proved by surviving remains.
The Loeb Classical Library edition of Pausanias is in five volumes; the fifth volume contains maps, plans, illustrations, and a general index.
In the tense years of the early Cold War, American and Soviet women conducted a remarkable pen-pal correspondence that enabled them to see each other as friends rather than enemies.
In a compelling new perspective on the early Cold War, prizewinning historian Alexis Peri explores correspondence between American and Soviet women begun in the last years of World War II and continuing into the 1950s. Previously unexamined, the women’s letters movingly demonstrate the power of the personal, as the pen pals engaged in a “diplomacy of the heart” that led them to question why their countries were so divided.
Both Soviet and American women faced a patriarchal backlash after World War II that marginalized them professionally and politically. The pen pals discussed common challenges they faced, such as unequal pay and the difficulties of balancing motherhood with a career. Each side evinced curiosity about the other’s world, asking questions about family and marriage, work conditions, educational opportunities, and religion. The women advocated peace and cooperation but at times disagreed strongly over social and economic issues, such as racial segregation in the United States and mandatory labor in the Soviet Union. At first both governments saw no risk in the communications, as women were presumed to have little influence and no knowledge of state secrets, but eventually Cold War paranoia set in. Amid the Red Scare, the House Un-American Activities Committee even accused some of the American women of being communist agents.
A rare and poignant tale, Dear Unknown Friend offers a glimpse of the Cold War through the perspectives of women who tried to move beyond the label of “enemy” and understand, even befriend, people across increasingly bitter political divides.
One essay relates the arguments of Ratzinger to those of two other German scholars—the conservative political theorist Ernst Wolfgang Böckenförde and the liberal philosopher and sociologist Jürgen Habermas—since all three men assume that social order depends on the existence of doctrinal authority (divine or otherwise). The contributors here argue for an intellectual and social life free of the desire for an “infantilizing” authority. One proposes that the Christian god is a relativist who prefers limitation and ambiguity; another, initially in agreement with Ratzinger about the danger relativism poses to faith and morals, then argues that this danger is what makes relativism valuable. The issue closes with the first English translation of an extract from a book on Catholic-Jewish relations by Cardinal Carlo Maria Martini, one of the Catholic Church’s most progressive figures.
Contributors. David Bloor, Daniel Boyarin, Mary Baine Campbell, Lorraine Daston, Arnold I. Davidson, John Forrester, Kenneth J. Gergen, Simon Goldhill, Jeffrey F. Hamburger, Julia Kristeva, Carlo Maria Cardinal Martini, Christopher Norris, Joseph Cardinal Ratzinger, Richard Shusterman, Barbara Herrnstein Smith, Jeffrey Stout, Gianni Vattimo
The field of development is subject to shifts in paradigms, and it is important to examine systematically how these are realized in actual practice. Two currently favored approaches are participation and indigenous knowledge. In this volume's collected papers, development researchers and practitioners share their ideas and experience on the different forms taken by participation and knowledge, not limited to "indigenous" knowledge, in the practice of development. The "development encounters" they describe took place in sites ranging from villages in the Amazon, India, and southern Africa to research laboratories and corporate boardrooms in central Africa, Latin America, and the United States.
This timely and grounded account of participation and knowledge in the front lines will be of interest to a range of practitioners, analysts, and students of development.
Design Integrations calls for an innovative rethinking of design education, one that recognizes the changing modes of design and the shifting forms of user experience. The contributors urge new methods of approach that focus on interdisciplinary collaboration between the academic and business worlds. These essays, among the first to focus on the future of design, often in-depth explorations of inter-institutional projects, cross-cultural learning experiences, and a multinational healthcare project. Design Integrations will be of interest to design teachers and practitioners alike.
The central figure of the issue is John Heartfield, a Dadaist who influenced much of the art world in Europe after World War I. The collection investigates Heartfield’s lesser-known early work with cinema in the service of the German High Command. Believing that photographic cinema was akin to war propaganda, Heartfield rejected live-action war footage in favor of American cinematic animation to promote an honest discussion about the horror and realities of war. One essay explores Heartfield’s photomontages while turning to film theory as a way of interpreting the politics of his work, demonstrating how his photomontages retain the organic and traditional nature of photography even as they produce cognitive dissonance and satire. Another essay on Heartfield’s role in Soviet discussions of the 1930s offers fascinating insights based on new archival research. The issue also looks at the relationship between Heartfield and the illustrated German magazine Arbeiter-Illustrierte-Zeitung and how that magazine influenced photomontage across Europe.
After the publication of Salman Rushdie’s The Satanic Verses (1988), the poetics of incitement— found in texts originating in the West containing themes and representations of Islam hurtful to Muslims—became an accepted method of textual production in the West. Production of such texts intensified after the attacks of 9/11. Democratic Criticism: Poetics of Incitement and the Muslim Sacred by Masood Ashraf Raja urges a new mode of reading, one that permits Western readers to transcend local reading practices in order to, as best as one can, read from the point of view of the Other.
Raja argues that the lack of understanding of Muslim responses to the poetics of incitement in the West is the result of a lack of cross-cultural knowledge. He claims metropolitan universities often do not teach the proper social, historical, and religious context required for effectively reading these texts with any form of cultural knowledge. To remedy this, Raja offers and theorizes “democratic reading practices” and new ways for students to engage with texts. A genealogy of the Muslim Sacred is included, thereby giving readers the history and specific knowledge that constitutes an average Muslim reader of these texts, a subject who should be imagined and empathized with when those in the West read works of the poetics of incitement.
Democratic Criticism encourages Western readers to develop a deeper understanding of the meaning-making processes of the Islamic world while at the same time encouraging the Muslim readers to read representations of the Islamic world with a more expansive understanding. It will be a helpful tool in creating reading practices that allow both teachers and students of literature to transcend their mode of reading as universal and to read from the perspective of the Other, and allow readers to engage meaningfully with these texts. Students and scholars of world literature, history, and religious studies will find this book insightful and valuable.The analysis of film music is emerging as one of the fastest-growing areas of interest in film studies. Yet scholarship in this up-and-coming field has been beset by the lack of a common language and methodology between film and music theory. Drawing on the philosophy of Gilles Deleuze, film studies scholar Gregg Redner provides a much-needed analysis of the problem which then forms the basis of his exploration of the function of the film score and its relation to film's other elements. Not just a groundbreaking examination of persistent difficulties in this new area of study, Deleuze and Film Music also offers a solution—a methodological bridge—that will take film music analysis to a new level.
Attitudes toward punishment and forgiveness in English society of the nineteenth century came, for the most part, out of Christianity. In actual experience the ideal was not often met, but in the literature of the time the model was important. For novelists attempting to tell exciting and dramatic stories, violent and criminal activities played an important role, and, according to convention, had to be corrected through poetic justice or human punishment. Both Dickens’ and Thackeray’s novels subscribed to the ideal, but dealt with the dilemma it presented in slightly different ways.
At a time when a great deal of attention has been directed toward economic production and consumption as the bases for value, Reed’s well-documented study reviving moral belief as a legitimate concern for the analysis of nineteenth-century English texts is particularly illuminating.
The 1957 classic American musical West Side Story has been staged by countless community and school theater groups, but none more ambitious than the 2000 production by MacMurray College, a small school in Jacksonville, Illinois. Diane Brewer, the new drama head at the college, determined to add an extra element to the usual demands of putting on a show by having deaf students perform half of the parts. Deaf Side Story presents a fascinating narrative of Brewer and the cast’s efforts to mount this challenging play.
Brewer turned to the Illinois School for the Deaf (ISD) to cast the Sharks, the Puerto Rican gang at odds with the Anglo Jets in this musical version of Romeo and Juliet set in the slums of New York. Hearing performers auditioned to be the Jets, and once Brewer had cast her hearing Tony and deaf Maria, then came the challenge of teaching them all to sing/sign and dance the riveting show numbers for which the musical is renowned. She also had to manage a series of sensitive issues, from ensuring the seamless incorporation of American Sign Language into the play to reassuring ISD administrators and students that the production would not be symbolic of any conflict between Deaf and hearing people.
Author Mark Rigney portrays superbly the progress of the production, including the frustrations and triumphs of the leads, the labyrinthine campus and community politics, and the inevitable clashes between the deaf high school cast members and their hearing college counterparts. His representations of the many individuals involved are real and distinguished. The ultimate success of the MacMurray production reverberates in Deaf Side Story as a keen depiction of how several distinct individuals from as many cultures could cooperate to perform a classic American art form brilliantly together.
Explore the Jewish traditions preserved in the commentaries of a largely neglected Alexandrian Christian exegete
Justin M. Rogers surveys commentaries on Genesis, Job, Psalms, Ecclesiastes, and Zechariah by Didymus the Blind (ca. 313–398 CE), who was regarded by his students as one of the greatest Christian exegetes of the fourth century. Rogers highlights Didymus’s Jewish sources, zeroing in on traditions of Philo of Alexandria, whose treatises were directly accessible to Didymus while he was authoring his exegetical works. Philonic material in Didymus is covered by extensive commentary, demonstrating that Philo was among the principle sources for the exegetical works of Didymus the Blind. Rogers also explores the mediating influence of the Alexandrian Christian tradition, focusing especially on the roles of Clement and Origen.
Features
In this volume, editor Cynthia B. Roy presents a stellar cast of cognitive linguists, sociolinguists, and discourse analysts to discover and demonstrate how sign language users make sense of what is going on within their social and cultural contexts in face-to-face interactions. In the first chapter, Paul Dudis presents an innovative perspective on depiction in discourse. Mary Thumann follows with her observations on constructed dialogue and constructed action. Jack Hoza delineates the discourse and politeness functions of hey and well in ASL as examples of discourse markers in the third chapter.
Laurie Swabey investigates reference in ASL discourse in the fourth chapter. In Chapter 5, Christopher Stone offers insights on register related to genre in British Sign Language discourse, and Daniel Roush addresses in Chapter 6 the “conduit” metaphor in English and ASL. Jeffrey Davis completes this collection by mapping out the nature of discourse in Plains Indian Sign Language, a previously unstudied language. The major thread that ties together the work of these varying linguists is their common focus on the forms and functions of sign languages used by people in actual situations. They each provide new keys to answering how thoughts expressed in one setting with one term or one utterance may mean something totally different when expressed in a different setting with different participants and different purposes.
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