To posterity, William Shakespeare may be the Bard of Avon, but to mid-seventeenth-century theatergoers he was just another dramatist. Yet barely a century later, he was England’s most popular playwright and a household name. In this intriguing study, Don-John Dugas explains how these changes came about and sealed Shakespeare’s reputation even before David Garrick performed his work on the London stage.
The interest in the performance of ancient Greek poetry has grown dramatically in recent years. But the competitive dimension of Greek poetic performances, while usually assumed, has rarely been directly addressed. This study provides for the first time an in-depth examination of a central mode of Greek poetic competition—capping, which occurs when speakers or singers respond to one another in small numbers of verses, single verses, or between verse units themselves. With a wealth of descriptive and technical detail, Collins surveys the wide range of genres that incorporated capping, including tragic and comic stichomythia, lament, forms of Platonic dialectic and dialogue, the sympotic performance of elegy, skolia, and related verse games, Hellenistic bucolic, as well as the rhapsodic performance of epic. Further, he examines historical evidence for actual performances as well as literary representations of live performances to explore how the features of improvisation, riddling, and punning through verse were developed and refined in different competitive contexts.
Anyone concerned with the performance of archaic and classical Greek poetry, or with the agonistic social, cultural, and poetic gamesmanship that prompted one performer to achieve "mastery" over another, will find this authoritative volume indispensable.
Measuring the Performance of the Hollow State is the first in-depth look at the influence of performance measurement on the effectiveness of the federal government. To do this, the authors examine the influence of the Government Performance and Results Act of 1993 (with consideration of the later Program Assessment Rating Tool of 2002) on federal performance measurement, agency performance, and program outcomes. They focus a systematic examination on five agencies in the U.S. Department of Health and Human Services—the Food and Drug Administration, the Centers for Medicare and Medicaid Services, the Health Resources and Services Administration, the National Institutes of Health, and the Indian Health Service. Besides representing a wide range of federal government organizational structures and program formats, these agencies offer a diverse array of third-party arrangements including states, native American tribes, scientists, medical schools, and commercial and nonprofit health care intermediaries and carriers.
Exploring the development of performance measures in light of widely varying program mandates, the authors look at issues that affect the quality of this measurement and particularly the influence of program performance by third parties. They consider factors such as goal conflict and ambiguity, politics, and the critical role of intergovernmental relations in federal program performance and performance measurement. Through their findings, they offer illumination to two major questions in public management today—what are the uses and limitations of performance measurement as a policy and management tool and how does performance measurement work when applied to the management of third-party government?
While scholars and students in public administration and governmental reform will find this book of particular interest, it will also be of use to anyone working in the public sector who would like to have a better understanding of performance measurement.
Musical talent in Western culture is regarded as an extraordinary combination of technical proficiency and interpretative sensitivity. In Music, Disability, and Society, Alex Lubet challenges the rigid view of technical skill and writes about music in relation to disability studies. He addresses the ways in which people with disabilities are denied the opportunity to participate in music.
Elaborating on the theory of "social confluence," Lubet provides a variety of encounters between disability and music to observe radical transformations of identity. Considering hand-injured and one-handed pianists; the impairments of jazz luminaries Django Reinhardt, Horace Parlan, and "Little" Jimmy Scott; and the "Blind Orchestra" of Cairo, he shows how the cultural world of classical music contrasts sharply with that of jazz and how musicality itself is regarded a disability in some religious contexts. Music, Disability, and Society also explains how language difference can become a disability for Asian students in American schools of music, limiting their education and careers.
Lubet offers pungent criticism of the biases in music education and the music profession, going so far as to say that culture disables some performers by adhering to rigid notions of what a musician must look like, how music must be played, who may play it, and what (if any) is the legitimate place of music in society. In Music, Disability, and Society, he convincingly argues that where music is concerned, disability is a matter of culture, not physical impairment.
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