Metafiction has long been associated with the heyday of literary postmodernism—with a certain sense of irresponsibility, political apathy, or outright nihilism. Yet, if (as is now widely assumed) postmodernism has finally run its course, how might we account for the proliferation of metafictional devices in contemporary narrative media? Does this persistence undermine the claim that postmodernism has passed, or has the function of metafiction somehow changed? To answer these questions, Josh Toth considers a broad range of recent metafictional texts—bywriters such as George Saunders and Jennifer Egan and directors such as Sofia Coppola and Quentin Tarantino. At the same time, he traverses a diffuse theoretical landscape: from the rise of various new materialisms (in philosophy) and the turn to affect (in literary criticism) to the seemingly endless efforts to name postmodernism’s ostensible successor. Ultimately, Toth argues that much contemporary metafiction moves beyond postmodern skepticism to reassert the possibility of making true claims about real things. Capable of combating a “post-truth� crisis, such forms assert or assume a kind of Hegelian plasticity; they actively and persistently confront the trauma of what is infinitely mutable, or perpetually other. What is outside or before a given representation is confirmed and endured as that which exceeds the instance of its capture. The truth is thereby renewed; neither denied nor simply assumed, it is approached as ethically as possible. Its plasticity is grasped because the grasp, the form of its narrative apprehension, lets slip.

National Identity and the British Musical: From Blood Brothers to Cinderella examines the myths associated with national identity which are reproduced by the British musical and asks why the genre continues to uphold, instead of challenging, outdated ideals. All too often, UK musicals reinforce national identity clichés and caricatures, conflate ‘England’ with ‘Britain’ and depict a mono-cultural nation viewed through a nostalgic lens. Through case studies and analysis of British musicals such as Blood Brothers, Six, Half a Sixpence and Billy Elliot, this book examines the place of the British musical within a text-based theatrical heritage and asks what, or whose, Britain is being represented by home grown musicals. The sheer number of people engaging with shows bestows enormous power upon the genre and yet critics display a reluctance to analyse the cultural meanings produced by new work, or to hold work to account for production teams and narratives which continue to shun diversity and inclusive practices. The question this book poses is: what kind of industry do we want to see in Britain in the next ten years? And what kind of show do we want representing the nation in the future?

Hoewel hy algemeen bekend is as die Afrikaner-Kommunis wat vir Nelson Mandela van die galg gered het, is bitter min bekend oor Bram Fischer die man. Fischer was 'n gerespekteerde senior advokaat by die Johannesburgse Balie, wat gekies het om hom by die onderdruktes te skaar en wat ondergronds gegaan het om by die gewapende stryd aan te sluit. Hy is op 5 November 1965 in hegtenis geneem nadat hy vir bykans tien maande op vlug was. “Ek is dit verskuldig aan politieke gevangenes, aan die uitgewekenes, aan dié wat stilgemaak is en diegene onder huisarres om nie 'n toeskouer te bly nie, maar op te tree.� Ná Bram Fischer dié woorde uit sy verklaring voorgelees het, wat hy in die beskuldigdebank tydens sy hoogverraadverhoor gelewer het, is hy lewenslange tronkstraf opgelê. Fischer was onwrikbaar verbind tot die droom van ’n nie-rassige demokrasie, maar ook ’n humoristiese, opgewekte mens en ’n toegewyde gesinsman vir sy vrou en kinders. Die vele fasette van die merkwaardige man word weerspieel in Die Bram Fischer Wals, Harry Kalmer se liriese huldeblyk. Die bondige, maar kragtige solostuk, met die protagonis as die verteller, neem die gehoor op 'n emosionele reis soos Fischer se verhaal ontvou. Die opvoering het in 2013 'n silwer Standard Bank Ovation-prys gewen met die premiere van die Engelse weergawe by die Nasionale Kunstefees in Grahamstad. Dit is in 2014 bekroon met die Adelaide Tambo-prys vir menseregte in die kunste. Die teks word aangevul met 'n voorwoord deur adv. George Bizos, 'n inleiding deur die dramaturg waarin hy vertel oor die pad wat daartoe gelei het dat hy die drama geskryf het en 'n nawoord deur Yvonne Malan, getiteld “Die krag van morele moed�.

There's nothing better than enjoying an activity with your friends! Gather yours and re-create iconic moments with this deluxe collection of over 25 official patterns for amigurumi, housewares, costume replicas, inspired apparel, and more both inspired by and pulled directly from the hit TV show, Friends. Featuring patterns for all skill levels, beautiful full-colour photography, step-by-step instructions, and clearly presented charts and schematics, Friends: The One with the Crochet is the ultimate crocheter's guide to the show that's always been there for you.

Take a seat at the Christmas table of Downton Abbey, the historic British estate at the heart of the popular ITV series. Downton fans will appreciate this enticing collection of classic British holiday recipes from the Edwardian era, evocative narratives about Christmas traditions, and seasonal anecdotes from the award-winning series. Colorful photographs of finished dishes, fan-favorite moments from the Christmas episodes, and excerpts of character quotes bring the spirit of the holidays to life.

Dystopian literature is a potent vehicle for criticizing existing social conditions and political systems. While utopian literature portrays ideal worlds, dystopian literature depicts the flaws and failures of imaginative societies. Often these societies are related to utopias, and the dystopian writers have chosen to reveal shortcomings of those social systems previously considered ideal. This reference overviews dystopian theory and summarizes and analyzes numerous dystopian works. By reviewing the critical thought of particular dystopian theorists, the beginning of the volume provides a theoretical context for the remainder of the book. Because dystopian literature is so closely related to utopian writing, the reference profiles and discusses eight important utopian works. The rest of the book includes entries for numerous dystopian novels, plays, and films. Each entry summarizes the work and discusses dystopian themes. The entries include short bibliographies, with full bibliographic information provided at the end of the volume. This comprehensive guide covers the full period from Thomas More's Utopia to the present day.

An authoritative new publication that revisits Munch’s work in its entirety. Edvard Munch occupies a pivotal place in artistic modernity. His work is permeated by a singular vision of the world, with a powerful symbolist dimension that goes beyond the masterpieces he created in the 1890s, and which gives his art a great coherence. For Munch, humanity and nature were united in the cycle of life, death and rebirth, which is reflected in the unending recurrence of certain motifs and colour combinations in his work. He wrote: ‘These paintings, which are, admittedly, relatively difficult to understand, will be […] easier to grasp if they are integrated into a whole.’ Published to accompany the major exhibition at the Musée d’Orsay, Edvard Munch: A Poem of Life, Love and Death presents about a hundred works – paintings, drawings, prints and engraved blocks – reflecting the diversity of Munch’s practice. Seven essays explore the artist in his philosophical and scientific milieu and the places that shaped the man and his art, as well as offering a rare glimpse of Munch’s attempts at creative writing. They also examine the historical evolution of his monumental Frieze of Life series and the world-famous Scream. This publication invites readers to revisit the painter’s work in its entirety by following the thread of an ever-inventive pictorial thinking: a vision that is both fundamentally coherent, even obsessive, and at the same time constantly renewed.

Since late evening cartoons first aired in 1960, prime-time animated series have had a profound effect on American television and American culture at large. The characters and motifs from such shows as The Flintstones and The Simpsons are among the best known images in world popular culture; and tellingly, even series that have not done well in prime time--series like The Jetsons, for instance--have yielded similarly iconic images. The advent of cable and several new channels devoted exclusively to animated programming have brought old series back to life in syndication, while also providing new markets for additional, often more experimental animated series. Even on the conventional networks, programs such as The Flintstones and The Simpsons, not to mention Family Guy and King of the Hill, have consistently shown a smartness and a satirical punch that goes well beyond the norm in network programming. Drawn to Television traces the history of prime-time animation from The Flintstones' initial extension of Saturday mornings to Family Guy and South Park's late-night appeal in the 21st century. In the process, it sheds a surprising light on just how much the kid inside us all still has to say. Drawn to Television describes the content and style of all the major prime-time animated series, while also placing these series within their political and cultural contexts. It also tackles a number of important questions about animated programming, such as: how animated series differ from conventional series; why animated programming tends to be so effective as a vehicle for social and political satire; what makes animated characters so readily convertible into icons; and what the likely effects ofnew technologies (such as digital animation) will be on this genre in the future.

Examines depictions of and by Catholics in American popular culture during the period between the Great Depression and the height of the Cold War. The author surveys the popular films, television, and photojournalism of the era that reimagined Catholicism as an important, even attractive, element of American life to reveal the deeply political and social meanings of the Catholic presence in popular culture.|When John Kennedy ran for president, some Americans thought a Catholic couldn’t—or shouldn’t—win the White House. Credit Bing Crosby, among others, that he did. For much of American history, Catholics’ perceived allegiance to an international church centered in Rome excluded them from full membership in society. Now Anthony Burke Smith shows how the intersection of the mass media and the visually rich culture of Catholicism changed that Protestant perception and, in the process, changed American culture. Smith examines depictions of and by Catholics in American popular culture during the critical period between the Great Depression and the height of the Cold War. He surveys the popular films, television, and photojournalism of the era that reimagined Catholicism as an important, even attractive, element of American life to reveal the deeply political and social meanings of the Catholic presence in popular culture. Smith shows that Hollywood played a big part in this midcentury Catholicization of the American imagination. Leo McCarey’s Oscar-winning film Going My Way, starring the soothing (and Catholic) Bing Crosby, turned the Catholic parish into a vehicle for American dreams, while Pat O’Brien and Spencer Tracy portrayed heroic priests who championed the underclass in some of the era’s biggest hits. And even while a filmmaker like John Ford rarely focused on clerics and the Church, Smith reveals how his films gave a distinctly ethnic Catholic accent to his cinematic depictions of American community. Smith also looks at the efforts of Henry Luce’s influential Life magazine to harness Catholicism to a postwar vision of middle-class prosperity and cultural consensus. And he considers the unexpected success of Bishop Fulton J. Sheen’s prime-time television show Life is Worth Living in the 1950s, which offered a Catholic message that spoke to the anxieties of Cold War audiences. Revealing images of orthodox belief whose sharpest edges had been softened to suggest tolerance and goodwill, Smith shows how such representations overturned stereotypes of Catholics as un-American. Spanning a time when hot and cold wars challenged Americans’ traditional assumptions about national identity and purpose, his book conveys the visual style, moral confidence, and international character of Catholicism that gave it the cultural authority to represent America.

This book gives new insight into acting and theatre-making through phenomenology (the study of how the world shows itself to conscious experience). It examines Being-in-the-world in everyday life with exercises for workshops and rehearsal. Each chapter explores themes to guide the creative process through objects, bodies, spaces, being with others, time, history, freedom and authenticity. Key examples in the work are drawn from Chekhov’s The Cherry Orchard, Sophocles’ Antigone and Shakespeare’s Hamlet. Practical tasks in each section explore how the theatrical event can offer unique insight into Being and existence. In this way, the book makes a bold leap to understand acting as an embodied form of philosophy and to explain how phenomenology can be a rich source of inspiration for actors, directors, designers and the creative process of theatre-making. This original new book will provide new insight into the practice and theory of acting, stimulate new approaches to rehearsal and advance the notion of theatre making a genuine contribution to philosophical discourse. The fundamental task of the actor is to be on stage with purposeful action in the given circumstances. But this simple act of ‘Being’ is not easy. Phenomenology can provide valuable insight into the challenge. For some time, scholars have looked to phenomenology to describe and analyse the theatrical event. But more than simply drawing attention to embodiment and the subjective experience of the world, a philosophical perspective can also shed light on broader existential issues of being. No specialist knowledge of philosophy is required for the reader to find this text engaging and it will be relevant for second-year students and above at tertiary level. For postgraduates and researchers, the book will provide a valuable touchstone for phenomenology and performance as research. The book will appeal to theatre and performance studies, and some applied philosophy courses. The material is also relevant to studies in literary and critical theory, cultural studies and comparative literature. The work is relevant to The International Federation of Theatre Research (IFTR/FIRT) (Performance and Consciousness), Performance Studies International (psi) and the Performance Philosophy Research Network — an influential and growing research field. Primary markets for this book will be students (both at university and conservatoires) and academics in theatre studies, as well as practitioners and actors in training. The text will be useful to students in units or modules relating to acting theory and theatre-making processes, and which combine critical theory with practical performance. It will also be useful for practitioners of theatre looking to expand or inflect their own methods of approaching performance.

As television grew more enticing for both viewers and filmmakers in the 1950s, several independent film producers with knowledge of making low-cost films and radio shows transferred their skills to producing shows for the small screen. Rather than funding live programs that were popular at the time, these producers saw the value in pre-taped shows, which created large financial returns through episode reruns. This low-cost, high-yield production model resulted in what are known and beloved as "B" television shows. Part historical account and part filmography, this book documents the careers of over a dozen "B" television producers. It chronicles the rise of situation comedies and crime dramas and explores the minds behind popular shows like My Little Margie, The Lone Ranger, Lassie, Highway Patrol and Sea Hunt. Divided into 14 chapters of producer profiles, this work is rich in both trivia and critical assessments of the first years of television. A chapter detailing the work of early female television producers rounds out the text.

An exciting new strand in The Television Series, the ‘Moments in Television’ collections celebrate the power and artistry of television, whilst interrogating key critical concepts in television scholarship. Each ‘Moments’ book is organised around a provocative binary theme. Epic / everyday explores the presence within television of the epic and the everyday. It argues that attention to ideas of the epic and notions of the everyday can illuminate television programmes in new ways. The book explores an eclectic range of TV fictions, including Game of Thrones, Lost and Dr Who. Contributors from diverse perspectives come together to expand and enrich the kind of close analysis most commonly found in television aesthetics. Sustained, detailed programme analyses are sensitively framed within historical, technological, institutional, cultural, creative and art-historical contexts. -- .

This is the first major study in English of cine quinqui, a cycle of popular Spanish films from the late 1970s and early 1980s that starred real-life juvenile delinquents. The book provides a close analysis of key quinqui films by directors such as Eloy de la Iglesia, José Antonio de la Loma and Carlos, as well as the moral panics, public fears and media debates that surrounded their controversial production and reception. In paying particular attention to the soundtrack of the films, the book shows how marginal youth cultures during Spain’s transition to democracy were shaped by sound. It will be of interest to scholars and students of Spanish film, history and cultural studies, and those working in sound studies and youth subcultures more broadly. -- .

We live in an ever-increasingly complex world, but refreshment waits for you within these pages. Escape the anxiety—the let-downs, the distractions, the chaos—and color your way toward a quiet soul. Escape the stress of daily life and color your way toward quietness and strength. Even in our hectic world, God's mercy and faithfulness are available. Slow down with this attractive, Bible-based adult coloring book and let God's mercy and goodness renew your soul. With more than 90 pages of unique patterns and inspiring selections of Scripture and quotations alongside original illustrations from author and artist Jennifer Tucker, New Mercies I See invites you to turn down the volume, be still, and relax in God's goodness. A beautiful way to relieve anxiety and treat yourself to the vital practice of self-care, this exquisitely designed adult coloring book features: 96 single-sided pages of art and inspiring text A large format with 10x10 pages A strikingly lovely cover with gold accents High-quality paper that doesn’t bleed through Convenient lay-flat binding Reflective Bible verses and inspirational quotes, all accompanied by beautiful designs and accented with metallic ink Detailed illustrations suitable for all skill levels   New Mercies I See invites you to: Reflect on God's goodness and generosity as you read calming and reassuring Bible verses Create unique pieces of art that you can give away or display as decorative reminders of God's love Take a break from your busy schedule to find moments for rest and replenishment   This relaxing and beautifully designed adult coloring book is perfect for anyone who: Welcomes a respite from the noise, distraction, and busyness of life Longs to meditate on Bible verses and uplifting thoughts Needs a stress-relieving activity, but doesn't have much time Looks for ways to bless a loved one with an encouraging gift for special occasions or just because Wants to experience a decrease in anxiety through the research-based benefits of coloring   New Mercies I See is a beautiful invitation to enjoy the peace and serenity that the Lord offers. Whatever season of life you're in, pick up your favorite art supplies and find rest for your soul as you color your way toward a more peaceful and contented state of being.

The comedic work of the children of modern Jewish immigrants overturned the prevailing languages and imageries with which an Anglocentric United States had traditionally represented and expanded itself. In ^IGravity Fails: The Comic Jewish Shaping of Modern America^R, James D. Bloom approaches these developments by first surveying this transformation as it affected literature, entertainment, commerce, and politics, and then offers sharply focused chapters that look at changes in sexual candor, reactions to the Holocaust, and critiques of race. Indeed, the personae discussed here pioneered unprecedented candor toward and scrutiny about sex and violence, and no other book delves as deeply or as widely among art forms, media, and levels of cultural hierarchy. Including considerations of the work of such diverse artists as Woody Allen, Mel Brooks, Lenny Bruce, Gilda Radner, Philip Roth, Jerry Seinfeld, and Stephen Sondheim, Gravity Fails provides a unique, penetrating, and hilarious look at a major force in the progress of American culture.

An illustrated biography of the remarkable and pioneering artist Leonora Carrington, told through the houses and locations that had meaning for her and are fundamental to an understanding of her work. An evocative visual chronicle on the life of Leonora Carrington as seen through interiors, international locations and vintage photographs, this book leads the reader on a personal journey through the many spaces she inhabited and which infused and haunted her art and the people she knew. Long underrated, Carrington is now considered as one of the vanguard, not only in histories of women artists but also Surrealism; her interests – feminism, ecology and life-enhancing art – are now shared by many. Challenging the conventions of her time, Carrington abandoned family, society and England to embrace new experiences and mix with artists in Europe and America, and to forge her own unique artistic style. From Lancashire to London, Cornwall to France and Spain, then to Mexico, New York and finally back to Mexico, each place and interior became etched in her memory – whether her grandmother’s kitchen with its giant stove, Parisian cafés, a rural French hideaway, the sanatorium in Santander or her Mexican sanctuary – only to be echoed, sometimes decades later, in her paintings and writings. ‘Houses are really bodies,’ she wrote in her novella The Hearing Trumpet (1974), ‘We connect ourselves with walls, roofs, and objects just as we hang on to our livers, skeletons, flesh and blood streams.’

The volume is dedicated to the work of Jenny Saville (Cambridge, 1970), one of the greatest contemporary painters and a leading voice in the international art scene. Saville transcends the limits between figurative and abstract, between informal and gestural, managing to transfigure the news into a universal image, which puts the human figure at the center of the history of art. Huge, naked bodies, with a carnal physicality and oppressed by a weight that is more existential than material, Saville is linked to the great European pictorial tradition in constant comparison with the modernism of Willem de Kooning and Cy Twombly and the portraiture of Pablo Picasso and Francis Bacon. Her work also outlines a strong correlation with the masters of the Italian Renaissance, in particular with some of Michelangelo’s great masterpieces.  The volume contains a rich catalogue of paintings and drawings from the 1990s to today.

In this deliciously detailed and gossipy history of the Parthenon (AKA, Elgin) Marbles, award-winning poet and writer A. E. Stallings discusses the removal of the Marbles from the Athenian Acropolis, their misadventures before and after installation in the British Museum (from shipwreck to boxing matches), and the debate over their future and possible reunion in Greece.

Bringing fresh air to a stale debate, Frieze Frame explores the effect the Marbles have had on poets, writers, painters, actors, architects, and vice versa—how poets and painters, for instance, have framed the Marbles' place in art and culture. The poets Keats, Byron, and Cavafy, as well as an aristocrat who loses his nose and his fortune, a bad painter who commits suicide, and a general who takes his cat into battle, are among the cast of characters. In the author’s own words, “I am, to a certain extent, as interested in the strange stories and people surrounding the stones as the controversy [of their removal] and their fate.” Key for Stallings is the creative world of the Marbles, the ways that they appear in nineteenth (and twentieth) century writing and art, race theory and beyond, and the influence they have exerted in our society: cultural figures, maybe even characters, in their own right.