"Cruelty and Civilization" offers an in-depth look at the Roman games as a force vital to the functioning of an Empire. Gladiatorial combats, chariot races and other spectacles were a kind of public opiate for the citizens of Ancient Rome. These rites gave rhythm and excitement to daily life in the Empire. From one year to the next, the Roman citizen lived in anticipation of the next games; through them he was able to forget the mediocrity of his own condition as well as his political enslavement. The most minutely organized productions were staged at vast expense, and Rome developed cults for arena champions, who were simultaneously idols and outcasts, doomed to a bloody death.
Roland Auguet not only reconstructs in detail the conduct of these spectacles (gladiatorial combats, the sacrifice of prisoners to wild beasts, the chariot races, the combats between man and beast or beast and beast), but also analyzes the feelings of the crowd and the calculations ofits rulers. He explains why the games dominated the life of the city. Examining the games in the context of a broader study of Roman customs, this book provides a synthesized view of how Roman civilization was to a large degree based on the games.

An adventure set in India in the period following the Mutiny, when the country seethed with discontent. Pursued by the authorities, one rebel plots to revenge himself against the British and make himself ruler of the land. Part II of "The Steam House."

Women, Science and Fiction Revisited is an analysis of selected science fiction novels and short stories written by women over the past hundred years from the point of view of their engagement with how science writes the world. Beginning with Charlotte Perkins Gilman's Herland (1918) and ending with N K Jemisin's The City We Became (2020), Debra Benita Shaw explores the re-imagination of gender and race that characterises women's literary crafting of new worlds. Along the way, she introduces new readings of classics like Ursula Le Guin's The Left Hand of Darkness and Margaret Atwood's The Handmaid's Tale, examining the original novels in the context of their adaptation to new media formats in the twenty-first century. What this reveals is a consistent preoccupation with how scientific ideas can be employed to challenge existing social structures and argue for change.

This pioneering work equips you with the skills needed to create and design powerful stories and concepts for interactive, digital, multi-platform storytelling and experience design that will take audience engagement to the next level. Klaus Sommer Paulsen presents a bold new vision of what storytelling can become if it is reinvented as an audience-centric design method. His practices unlock new ways of combining story with experience for a variety of existing, new and upcoming platforms. Merging theory and practice, storytelling and design principles, this innovative toolkit instructs the next generation of creators on how to successfully balance narratives, design and digital innovation to develop strategies and concepts that both apply and transcend current technology. Packed with theory and exercises intended to unlock new narrative dimensions, Integrated Storytelling by Design is a must-read for creative professionals looking to shape the future of themed, branded and immersive experiences.

This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime's 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the "bride" of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters.

'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?

In Victorian society--rigidly stratified by both income and occupation--performers were drawn from various class backgrounds and enjoyed a unique degree of social mobility. Nevertheless, the living and working conditions of female performers were distinctly different from their male counterparts: fully justifying in social, economic, and gender terms the semantic distinction "actress."
"Actresses as Working Women" utilizes the methodologies of a number of disciplines--labor history, historical demography, sociology, performance analysis, and literary theory--and a vast amount of primary evidence to investigate actresses' separate and equivocal status. Their segregation and marginalization guaranteed economic insecurity. Their attempts to reconcile sexuality and the female life cycle to a physically demanding, itinerant occupation while under constant public scutiny led to assumptions about their morality that were difficult to overcome. Performance conventions--in both theatre and music hall traditions--that reflected popular pornographic images reinforced this stigma, which was documented in contemporaneous erotic literature and the male-controlled culture of vice that permeated theatrical neighborhoods.
One of the first in-depth feminist studies of the history of theatre, "Actresses as Working Women" brings a fresh perspective and voluminous evidence to bear on the study of nineteenth-century theatre.

This volume explores how Latin American and Latinx creators have engaged science fiction to explore posthumanist thought. Contributors reflect on how Latin American and Latinx speculative art conceptualizes the operations of other, non-human forms of agency, and engages in environmentalist theory in ways that are estranging and open to new forms of species companionship. Essays cover literature, film, TV shows, and music, grouped in three sections: "Posthumanist Subjects" examines Latin(x) American iterations of some of the most common figurations of the posthuman, such as the cyborg and virtual environments and selves; "Slow Violence and Environmental Threats" understands that posthumanist meditations in the hemisphere take place in a material and cultural context shaped by the catastrophic destruction of the environment; the chapters in "Posthumanist Others" shows how the reimagination of the self and the world that posthumanism offers may be an opportunity to break the hold that oppressive systems have over the ways in which societies are constructed and governed.

This book is the first overall study of research-based art practices in Southeast Asia. Its objective is to examine the creative and mutual entanglement of academic and artistic research; in short, the Why, When, What and How of research-based art practices in the region. In Southeast Asia, artists are increasingly engaged in research-based art practices involving academic research processes. They work as historians, archivists, archaeologists or sociologists in order to produce knowledge and/or to challenge the current established systems of knowledge production. As artists, they can freely draw on academic research methodologies and, at the same time, question or divert them for their own artistic purpose. The outcome of their research findings is exhibited as an artwork and is not published or presented in an academic format. This book seeks to demonstrate the emancipatory dimension of these practices, which contribute to opening up our conceptions of knowledge and of art, bestowing a new and promising role to the artists within the society.

This book explores the work and careers of women, trans, and third-gender artists engaged in political activism. While some artists negotiated their own political status in their indigenous communities, others responded to global issues of military dictatorship, racial discrimination, or masculine privilege in regions other than their own. Women, trans, and third-gender artists continue to highlight and challenge the disturbing legacies of colonialism, imperialism, capitalism, communism, and other political ideologies that are correlated with patriarchy, primogeniture, sexism, or misogyny. The book argues that solidarity among such artists remains valuable and empowering for those who still seek legitimate recognition in art schools, cultural institutions, and the history curriculum.

Due to the increase in transgender characters in scripted television and film in the 2010s, trans visibility has been presented as a relatively new phenomenon that has positively shifted the cis society's acceptance of the trans community. This book counters this claim to assert that such representations actually present limited and harmful characterizations, as they have for decades. To do so, this book analyzes transgender narratives in scripted visual media from the 1960s to 2010s across a variety of genres, including independent and mainstream films and television dramatic series and sitcoms, judging not the veracity of such representations per se but dissecting their transphobia as a constant despite relevant shifts that have improved their veracity and variety. Already ingrained with their own ideological expectations, genres shift the framing of the trans character, particularly the relevance of their gender difference for cisgender characters and society. The popularity of trans characters within certain genres also provides a historical lineage that is examined against the progression of transgender rights activism and corresponding transphobic falsehoods, concluding that this popular medium continues to offer a limited and narrow conception of gender, the variability of the transgender experience, and the range of transgender identities.

A book packed with one hundred monologues, aimed at young performers from pre teens to young adults. The book has been written by a drama teacher with over twenty years' experience which includes heading up a performing arts faculty in a secondary school, GCSE and A-Level examining and most currently residing as the principal of a successful theatre school. She also has her work published in the 2019 LAMDA Acting Anthology and has several published plays. The original monologues and scenes can be used for class work, festivals and exams. The monologues have guidance on age suitability, and there is a good mix of male and female characters, with some written as non-gender specific in order to give the performer a wider selection of pieces to choose from. This collection of creative material would be a great asset to any drama teacher's resources and be of benefit to primary and secondary schools as well as youth groups, and those preparing for auditions. "A great series of monologues, funny, sad and heart warming. Like a little sidekick in paperback form! Extremely reliable resources for all genres of monologue. The author has, thankfully, broadened the horizons for anyone looking for suitable and appropriate audition material. Students will be thrilled to perform these fun, new, fresh, quirky and up to date pieces." Dave King (Drama Teacher and LAMDA Tutor)

This book analyzes a range of Edgar Allan Poe's writing, focusing on new readings that engage with classical and (post)modern studies of his work and the troubling literary relationship that he had with T.S. Eliot. Whilst the book examines Poe's influence in Spain, and how his figure has been marketed to young and adult Spanish reading audiences, it also explores the profound impact that Poe had on other audiences, such as in America, Greece, and Japan, from the nineteenth to the twenty-first century. The essays attest to Poe's well-deserved reputation, his worldwide legacy, and his continued presence in global literature. This book will appeal particularly to university teachers, Poe scholars, graduate students, and general readers interested in Poe's oeuvre.

Gain the essential skills of a professional grip to become the jack and master of all trades on any movie or television show set. This new edition has been fully updated and revised and will enable aspiring and professional grips to discover vital insider tips ranging from how to operate cutting-edge rigging and lighting equipment to performing difficult camera mounts on aircraft, boats, trains, and cars. Seasoned Hollywood grip Michael G. Uva teaches you to install, set up, maintain, and ensure the safety of all equipment on a set, such as C-stands, cameras, and any specialty gear needed for a shoot. Expanded content on navigating the set, including set etiquette and how to succeed as a technical crew member will jumpstart your career and make you a valuable asset on any film or television crew. This 7th edition has been updated to include the latest technology; further explanations of equipment and how to use it for those new to the role; a new chapter on working as a grip on Virtual Sets. Other features include technical expertise on maintaining the latest and greatest filmmaking equipment; a self-test section containing over one hundred questions and answers; a comprehensive appendix containing a robust glossary of insider and equipment terms; and guidelines on what a grip has to be physically able to perform in their day-to-day duties. Ideal for the aspiring or working grip to use on the role, as well as aspiring students looking to break into the industry.

Let your lobster know how much you love them with this officially licensed, charming DIY gift book, inspired by Friends.Whether you and your other half are a Ross and Rachel or more of a Chandler and Monica, show your SO how much they mean to you with dozens of sweet, silly, and endearing expressions of love inspired by Ross, Rachel, Chandler, Monica, Joey, and Phoebe. Once completed, this book becomes a personalized gift for your loved one to cherish for years to come. Features full-color photography throughout.Copyright (c) 2022 Warner Bros. Entertainment Inc.FRIENDS and all related characters and elements (c) & (TM) Warner Bros. Entertainment Inc.

Over the past two decades, theatre practitioners across the West have turned to documentary modes of performance-making to confront new socio-political realities. The essays in this book place this work in context, exploring historical and contemporary examples of documentary and 'verbatim' theatre, and applying a range of critical perspectives.

This edited volume analyzes participatory practices in art and cultural heritage in order to determine what can be learned through and from collaboration across disciplinary borders. Following recent developments in museology, museum policies and practices have tended to prioritize community engagement over a traditional focus on collecting and preserving museal objects. At many museal institutions, a shift from a focus on objects to a focus on audiences has taken place. Artistic practices in the visual arts, music, and theater are also increasingly taking on participatory forms. The world of cultural heritage has seen an upsurge in participatory governance models favoring the expertise of local communities over that of trained professionals. While museal institutions, artists, and policy makers consider participation as a tool for implementing diversity policy, a solution to social disjunction, and a form of cultural activism, such participation has also sparked a debate on definitions, and on issues concerning the distribution of authority, power, expertise, agency, and representation. While new forms of audience and community engagement and corresponding models for "co-creation" are flourishing, fundamental but paralyzing critique abounds and the formulation of ethical frameworks and practical guidelines, not to mention theoretical reflection and critical assessment of practices, are lagging. This book offers a space for critically reflecting on participatory practices with the aim of asking and answering the question: How can we learn to better participate? To do so, it focuses on the emergence of new norms and forms of collaboration as participation, and on actual lessons learned from participatory practices. If collaboration is the interdependent formulation of problems and entails the common definition of a shared problem space, how can we best learn to collaborate across disciplinary borders and what exactly can be learned from such collaboration?

This interdisciplinary collection explores four distinct perspectives about the mask, as object of use for protection, identity, and disguise. In part I, contributors address human identities within collective social performance, with chapters on performativity and the far right and masked identities in political resistance and communication. Part II focuses on the mask as a signifying object with strong representational challenges, exploring representations in festivals, literature, and film. Part III investigates the ambiguous use of the mask as a protective and concealing element, delving into visual culture and digital social media contexts. Finally, Part VI draws on the work of Levinas and Deleuze to investigate a philosophical view of the mask that addresses memory and ethics within intersubjective relationships. Questioning the contemporary world, using communication, sociology, visual culture, and philosophical theory, the volume provides a pedagogical and formative perspective on the mask.

Whether social, cultural, or individual, the act of imagination always derives from a pre-existing context. For example, we can conjure an alien's scream from previously heard wildlife recordings or mentally rehearse a piece of music while waiting for a train. This process is no less true for the role of imagination in sonic events and artifacts. Many existing works on sonic imagination tend to discuss musical imagination through terms like compositional creativity or performance technique. In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other aural arenas where the imagination holds similar power. Topics covered include auditory imagery and the neurology of sonic imagination; aural hallucination and illusion; use of metaphor in the recording studio; the projection of acoustic imagination in architectural design; and the design of sound artifacts for cinema and computer games.

This volume explores the politics and poetics of Victorian surfaces in their manifold manifestations. In so doing, it examines various cultural products 'as they are' and highlights the art of surface composition in the Victorian era as well as the socio-cultural ramifications of the preoccupation with the exterior. By closely reading the various surfaces materialising in Victorian literature and culture, the individual contributions explore the dialectics of surface and depth in Victorian (and Neo-Victorian) cultures as well as the legibility of surfaces. They look into the surfaces of literary narratives, paintings, and film but also into natural surfaces such as skin or bark. Each chapter foregrounds what is present rather than absent in a text, while also paying attention to the surfaces that become manifest on the diegetic level of the text, be they cloth, landscapes, or human bodies or faces. This is an open access book.