This key textbook provides a comprehensive and up-to-date account of developments in international communication worldwide. Taking a comparative approach to the major theories of global media, Terry Flew looks at the rise of global media production networks and the emergence of 'media cities', multiculturalism, and the question of a global media culture. This engaging book raises the question of whether we are now in a 'post-global' age, and discusses whether there is a stable global communications order, or instead a stage of increased competition among digital and traditional media, and between the US and emergent powers such as China. Drawing on a wide range of perspectives, and written by a renowned author, this is an essential introduction for undergraduate and postgraduate students of media studies, communication studies and cultural studies, and anyone interested in the study of media and globalization.

Examine the cultural and political implications of male-to-female gender performance! The Drag Queen Anthology: The Absolutely Fabulous but Flawlessly Customary World of Female Impersonators examines the phenomena of male-to-female gender performance and the people who live it. This provocative collection of original essays explores the possibilities, limitations, ironies, and controversies surrounding men who perform as women to an audience that knows the truth but celebrates the illusion. The book's contributors call on extensive backgrounds in sociology, anthropology, theater, literatureeven military studiesand use a variety of approaches to address common themes and genres of presentation, performance, and style in a wide range of historical settings and cultures. The Drag Queen Anthology explores female impersonation in the past and present, addressing the often-contradictory cultural impulses found in the performance of femininity. The book examines the important issues of this unique form of gendering, including the cultural and sociopolitical implications of drag, the symbolic cultural ideals associated with women, the impact of the performer's social identities on his performance, and the reactions of the GLBT, straight, and feminist communities to drag. The book looks at traditional drag performance, challenges accepted perceptions about female impersonation, and exposes the notion of the effeminate drag queen as an outdated myth. The Drag Queen Anthology examines the important issues of male-to-female gender performance, including: how drag queen performance is used to attain situational status and power how drag queens challenge contemporary notions of gender what embodiment occurs when men undertake performances of femininity how drag queen performance is viewed as a theatrical presentation of self what representations of drag queens in film suggest about current gender relations why communities organize around drag queen performers how drag queen performance differs on-stage and off how male-to-female gendered performance intersects with performances of sexual identity, social class, race, age, and ethnicity The Drag Queen Anthology: The Absolutely Fabulous but Flawlessly Customary World of Female Impersonators is an indispensable resource on drag's core elements of performance and parody and how each affects contemporary notions of gender.

Heracles and Oedipus in Greek Classical Drama by Professor Joseph R. Laurin offers a scholarly, clear and easy approach to the understanding of two of the greatest heroes of Ancient Greece and of the glory and tragedy of their stories in Greek Classical theater.
Readers and researchers can benefit greatly from the text and innumerable references presented in this book. Students as well as non-academic readers interested in Classical literature or the Theater can find it fascinating and beneficial.
After projecting a general view of the notion of the Ancient Greek Hero, the author develops the mythical stories of Heracles and Oedipus, and the dramas produced from these myths by the three Classical writers of Tragedy: Aeschylus, Euripides and Sophocles.
Four plays convey the dramatic story of Heracles: Alcestis, Heracles Mad, The Women of Trachis and The Children of Heracles. The story of Oedipus spans over several generations covered in six plays: Oedipus the King, Oedipus at Colonus, The Seven Against Thebes, The Phoenician Women, The Suppliant Women and Antigone.
The author's vast knowledge of the sources of information, either in ancient texts or in modern literature, has made his book not only a brief retelling of the stories but a discussion of the major issues of interpretation and a thought-provoking commentary about human life, the universe and the gods.
Heracles and Oedipus in Greek Classical Drama is a valuable contribution to the understanding of two of the greatest heroes of Ancient Greece and of the masterful adaptation of their stories to the theater stage. This book, available either in paperback or hard cover, should inspire further research of thesources and discussion of issues confronting students as well as readers interested in Classical literature or the Theater.

Fayettenam Plays and London Works is a collection of six three-act plays and one one-act play with varied settings in London, England; Gallup, New Mexico; Lebanon, Missouri; Cherokee, North Carolina; Greensboro, North Carolina, and the author's place of residence in Fayetteville, North Carolina. The oldest play dates back to the author's college days of yore, and the most recent play contains wet ink as it was hurriedly keyed to meet a publishing deadline. Expect lots of laughs and rising action leading to climaxes of dramatic proportions!

LAUGH, LAUGH AND LAUGH! New, Updated and Expanded - 2nd Edition As they say, 'Laughter is the best medicine'. And what better way to laugh than by reading jokes! Get this book NOW for some REAL entertainment and fun. Do you want to - - Eliminate stress - Burn calories - Heal yourself - Align your mind, body, soul and spirit - Bring joy to people around and - Most importantly, laugh your heart out! If yes, then this is the book for you. Clean jokes for everyone - high quality and hilarious - this book is a must read! So what are you waiting for? Get your own copy NOW! Also get a Bonus book inside - ABSOLUTELY FREE

The reality of being a stay at home parent. This was intended as a humorous interpretation but any other mom will agree this is how it goes. This was a typical day in my home.

Covering Catastrophe tells what it was like for TV and radio journalists to report the most terrifying story of their lives-and our time.

I here and there o'heard a Coxcomb cry,
Ah, rot--'tis a Woman's Comedy.
Thus Aphra Behn ushers in a new era for women in the British Theatre (Sir Patient Fancy, 1678). In the hundred years that were to follow -- and exactly those years that Curtain Calls examines -- women truly took the theater world by storm.
For each woman who chose a career in the theater world of the eighteenth century, there is a unique tale of struggle, insult, success, good or bad fortune, disaster, seduction, or fame. Whether acting, writing, reviewing, or stage managing, women played a major, if frequently unacknowledged, role in the history of the theater from the late seventeenth through the early nineteenth centuries. From Alpha Behn's earliest plays through the glorious celebrity of Sara Siddons, women molded the taste of the age and carved out in the theater one of the few available opportunities for independence and renown.
Not all the women who tried succeeded, of course, and even the best faced opposition as they challenged the male stronghold of playwriting and theater managing. Curtain Calls maps the new territory as these pioneering women staked it for their own; it chronicles their lives, their triumphs, and their losses.
We begin with Aphra Behn, whose first play was staged in 1670, and conclude in the early decades of the nineteenth century with Inchbald and Siddons. The one hundred and fifty years encompassed by their lives contain the careers of dozens of lesser-known women, a network, as Dr. Johnson would have it, encompassing both talent and tribulation.
Contributors include: Edward Langhans, Linda R. Payne, Pat Rogers, Maureen e. Mulvihill, Deborah Payne, Betty Rizzo, Ellen Donkin, Frances M. Kavenik, Jessica Munns, nancy Cotton, Edna L. Steevs, Doreen Saar, Jean B. Kern, Katherine M. Rogers, Constance Clark, William J. Burling, Judith Phillips Stanton, Douglas Butler, Rose Zimbardo, and the editors.

Men have been dressing as women on stage for hundreds of years, dating back to the thirteenth century when the Church forbade the appearance of female actors but condoned that of men and boys disguised as the opposite sex. Forms of travestism can be traced back to the dawn of theatre and are found in all corners of the world, notably in China and Japan.

In recent years, of course, drag has witnessed a dramatic and widespread revival. Newsday recently observed, People are talking about all those fabulous heterosexual film idols who now can't seem to wait to get tarted up in drag and do their screen bits as fishnet queens. Drawing on a cinematic tradition popularized by Tony Curtis and Jack Lemmon in Some Like it Hot, Dustin Hoffman (Tootsie) and Robin Williams (Mrs. Doubtfire) have each delighted mainstream audiences with their portrayals of women. Even former drag queens have experience newfound fame; witness the recent popularity of the late Divine, renowned for her oddly compelling appearances in underground John Waters films.

Music, too, has been profoundly influenced by drag sensibility, from David Bowie's Ziggy Stardust and the Rocky Horror Picture Show to Boy George and RuPaul (the self- proclaimed Supermodel of the World).

Tracing drag tradition from the Golden Age of stage transvestism during the reigns of Elizabeth I and James I in England to the current quasi-drag inclinations of American grunge bands, Drag is an entertaining overview of this popular and complex medium.

Winner of the Thurber Prize for American Humor and an NAACP Image Award. Named one of the best books of the year by The New York Time, USA Today, San Francisco Chronicle, NPR, Esquire, Newsday, and Booklist.

Trevor Noah’s unlikely path from apartheid South Africa to the desk of The Daily Show began with a criminal act: his birth. Trevor was born to a white Swiss father and a black Xhosa mother at a time when such a union was punishable by five years in prison. Living proof of his parents’ indiscretion, Trevor was kept mostly indoors for the earliest years of his life, bound by the extreme and often absurd measures his mother took to hide him from a government that could, at any moment, steal him away. Finally liberated by the end of South Africa’s tyrannical white rule, Trevor and his mother set forth on a grand adventure, living openly and freely and embracing the opportunities won by a centuries-long struggle.

Born a Crime is the story of a mischievous young boy who grows into a restless young man as he struggles to find himself in a world where he was never supposed to exist. It is also the story of that young man’s relationship with his fearless, rebellious, and fervently religious mother—his teammate, a woman determined to save her son from the cycle of poverty, violence, and abuse that would ultimately threaten her own life.

The stories collected here are by turns hilarious, dramatic, and deeply affecting. Whether subsisting on caterpillars for dinner during hard times, being thrown from a moving car during an attempted kidnapping, or just trying to survive the life-and-death pitfalls of dating in high school, Trevor illuminates his curious world with an incisive wit and unflinching honesty. His stories weave together to form a moving and searingly funny portrait of a boy making his way through a damaged world in a dangerous time, armed only with a keen sense of humor and a mother’s unconventional, unconditional love.

This bio-bibliography provides an overview of the life and career of the noted actress Agnes Moorehead. A brief biography discusses her midwestern upbringing as well as her academic background and early struggles in establishing her career. The biography also discusses Moorehead's later career successes in addition to her professional and personal relationships. The largest portion of the book is devoted to detailed listings of her work in film, television, radio and theatre. In many cases, these listings include synopses, cast listings and credits, review excerpts, and other information. Her most celebrated appearances are described and discussed at length. These appearances include the films, Citizen Kane and Magnificent Ambersons; television programs, "The Twilight Zone," "The Wild, Wild West," and "Bewitched;" radio shows "The March of Time," "The Shadow," and "Sorry, Wrong Number;" and her one-woman stage production as well as her work in Don Juan in Hell. This work is a valuable addition to the performing arts series.

Coping with trauma and the losses of World War I was a central concern for French musicians in the interwar period. Almost all of them were deeply affected by the war as they fought in the trenches, worked in military hospitals, or mourned a friend or relative who had been wounded, killed, or taken prisoner. In Resonant Recoveries, author Jillian C. Rogers argues that French modernist composers processed this experience of unprecedented violence by turning their musical activities into locations for managing and performing trauma. Through analyses of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, Rogers frames World War I as a pivotal moment in the history of music therapy. When musicians and their audiences used music to remember lost loved ones, perform grief, create healing bonds of friendship, and find consolation in soothing sonic vibrations and rhythmic bodily movements, they reconfigured music into an embodied means of consolation-a healer of wounded minds and bodies. This in-depth account of the profound impact that postwar trauma had on French musical life makes a powerful case for the importance of addressing trauma, mourning, and people's emotional lives in music scholarship. This is an open access title available under the terms of a CC BY-NC-ND 4.0 licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.

Nicholas Rudall, whose acclaimed translations of Ibsen and the Greek classic playwrights have brought a fresh perspective to the American theater, turns his talents to one of the Norwegian dramatist's most provocative plays. In a rebuke to the Victorian notion of community as well as to the blessings of democracy, Ibsen creates a situation in which one man must stand alone to face the forces allied against him. In a coastal town, a community-minded physician has promoted the development of public baths in order to attract tourists. When he discovers that the water supply for the baths is contaminated and attempts to publicize the failing and correct it, he and his family are all but driven out of the town he was trying to save.

During the past 15 years, artists have established a remarkable record of innovation and success in institutional settings. Their work with hospital patients, prisoners, the elderly, the disabled, the mentally ill, and others has shown that the arts can have a significant positive impact on the lives of these people. This book recounts the histories of 22 institutional and community arts programs across the country pioneering this approach through activities such as creative writing and the performing and visual arts. Consisting largely of first-hand accounts, the book demonstrates how the creative processes have been used to address and solve some of society's most pressing problems. Included are case studies, research, and descriptions of the wide variety of artistic, educational, and therapeutic approaches utilized by each of the 22 programs. Also described are many of the financial and political strategies used to build and sustain support for these unlikely endeavors. This work will provide valuable insights for artists, educators, social service providers, and community leaders.

This is the February 2018 (128th - and 20th Anniversary) issue of Music Street Journal. It includes coverage of the following artists and more: Alcatrazz Jon Anderson Robert Berry Big Country Graham Bonnet Charles Brown California Guitar Trio Johnny Cash Cheer-Accident Clark Colborn Alan Davey Delta Deep Joe Deninzon Downes Braide Association Terry Draper Dreadnaught Echo Us Keith Emerson Fischer's Flicker Focus Randy George Pontus Gunve Steve Hackett Heaven & Earth HR Glenn Hughes Sonja Kristina Lana Lane Tony Levin Marillion Miriodor Bill Nelson Erik Norlander Rausch Jordan Rudess Rush Samson ScienceNV Don Schiff Billy Sherwood Alan Simon Snoozy Moon Spirits Burning Spock's Beard 3rd Ear Experience Uriah Heep John Wetton WildeStarr Yes Frank Zappa While Gary Hill edited and published the book and wrote many of the articles, Mike Korn, Greg Olma and Larry Toering all contributed articles.

SHAFTED moves forwards and backwards over time, starting after the miners strike in 1984. Act One demonstrates the depression and hopelessness which engulfed a West Yorkshire mining village post the strike and the plethora of menial jobs which HARRY found in order to try to make a living. By the late 1990's DOT had suggested they move to Bridlington to start a new life running a Boarding House. Act Two starts in 2016 with DOT suffering from cancer, immobile in a wheelchair, the act moves backwards thought to success of the boarding house and their new life together, to the time they left UPTON to run the boarding house in the 1990's.

This book demonstrates how and why a majority of US artists must now function as producers of their original works, as well as creators. The author shows how, over the span of 20 years, the USA's cultural policy sector radically redefined US artists' practices without cohesively articulating the expectations of artists' new role.

A glimpse into the private world of the hilarious Friars. The legendary New York Friars Club and its members are known the world over. This is a hilarious compilation of tales, anecdotes, and historical information about the club, featuring funny and moving moments from hundreds of stars like Milton Berle, Frank Sinatra, Jerry Lewis, Don Rickles, and more, as well as stars of today, like Kelsey Grammer, Jason Alexander, Billy Crystal, and Drew Carey. The Friars are renowned for dishing out jokes and doling out insults in order to roast countless performers, politicians, and popular personalities. From their first testimonial dinner in 1907 to their televised roast of Jerry Stiller in 1999, you'll be inside the club, where ribaldry is synonymous with fraternity. The Friars have never held back when the promise of a good laugh, especially at someone else's expense, was at hand. Find out what was really said and done at those titillating tongue-lashings known as the private and exclusive Friars Roasts (where even the waiters were ordered out of the room).

''Timmy Creed's explosive one-man show...this intense production fearlessly tackles Irish masculine stereotypes.'' SUNDAY TIMES Timmy plays hurling, the fastest field sport in the world. He loves it. He hates it. Honest, brave and hard-hitting, Spliced is a visceral account of his struggle to become an individual outside of the sporting institution that raised him. He wants to talk about identity, masculinity and mental health in a sports club. From one of Ireland's exciting up-and-coming writers comes a fun, fierce, site-specific show with thrilling music and video.

Katie has gone from a little girl who used to climb trees, ride bikes and go on adventures to an adult who worries about everything. But now Katie is a mum, she must be brave in a whole new way. Determined that her young daughter will never lose the powerful, fierce magic she arrived into the world with, Katie sets off on a mission with the help of a stolen BMX, a policewoman with bad hair and a pigeon in a bag as she rides around Newport to find what she's really made of. By listening to the unheard voices of the city, she begins to discover what the women who have gone before can teach her about how to be brave. Sian Owen's one-woman play is about what we are made of, what we leave behind, and learning to be brave when your world is falling apart.

A broad and inclusive volume of the celebrations and critiques of performance arts Focusing on the living arts-dance, theatre, music, performance art, ritual, and popular entertainment-performance studies expands our understanding of "performance" as both a vital artistic practice and a means by which to understand social and cultural processes. Bridging the gap between cultural studies, performing arts, and anthropology, performance studies explores myriad ways in which performance creates meaning and shapes our everyday lives. The broadest and most inclusive volume to date, The Ends of Performance both celebrates and critiques the institutionalization of the field. Only recently has the field given keen attention to the interpretive force and consequences of performance events, and it is these consequences that the The Ends of Performance articulates. Here performance studies illuminates the complex social and cultural formations of our time--the impact of virtual technology, the racialized discourses of legal and cultural citizenship, the impact of new medical discourses, and the medicalization of the body. Featuring work by leading theorists such as Joseph Roach, Diana Taylor, and Richard Schechner, excursions into performative writing by Eve Kosofsky Sedgwick and Della Pollock, and texts by performance artists Orlan and Deb Margolin, The Ends of Performance illuminates the provocative intellectual ends which motivate these varied approaches to performing writing, and to writing performance.

Performing Pedagogy examines the theory and practice of performance art as an art of politics. It discusses the different with in which performance artists use memory and cultural history to critique dominant cultural assumptions, to construct identity, and to attain political agency. In doing so, Garoian argues, performance artists like Rachel Rosenthal, Guillermo Gomez-Pena, Robbie McCauley, Suzanne Lacy, and the performance art collective Goat Island engage in the practice of critical citizens and radical forms of democracy that have significant implication for teaching in the schools. Finally, Garoian contextualizes performance art pedagogy within his own cultural work to illustrate how his own memory and cultural history have inform his production of performance art works and his classroom teaching practices.

'Piercingly honest... witty... wonderful' - The Observer 'My favourite way to learn is when a funny, clever, honest person is teaching me - that's why I love Rosie Wilby!' - Sara Pascoe 'Funny, sweet, entertaining, insightful, life-affirming...' - Viv Groskop 'Hilarious, honest and brilliant' - Helen Thorne 'Rosie Wilby unearths the hope and hilarity that can come from heartbreak' - Abigail Tarttelin In 2011, comedian and podcaster Rosie Wilby was dumped by email... though she did feel a little better about it after correcting her ex's spelling and punctuation. Obsessing about breakups ever since, she embarked on a quest to investigate, understand and conquer the psychology of heartbreak. This book is a love letter to her breakups, a celebration of what they have taught her peppered with anecdotes from illustrious friends and interviews with relationship therapists, scientists and sociologists about separating in the modern age of ghosting, breadcrumbing and conscious uncoupling. Mixing humour, memoir and science, she attempts to assimilate their advice and ideas in order to not break up with Girlfriend, her partner of nearly three years. Will this self-confessed serial monogamist, and breakup addict, finally settle down?