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Notes from Underground (Paperback)
Fyodor Dostoevsky; Translated by Kyril Zinovieff, Jenny Hughes
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R220
R176
Discovery Miles 1 760
Save R44 (20%)
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Ships in 5 - 10 working days
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The unnamed narrator of the novel, a former government official,
has decided to retire from the world and lead a life of inactivity
and contemplation. His fiercely bitter, cynical and witty monologue
ranges from general observations and philosophical musings to
memorable scenes from his own life, including his obsessive plans
to exact revenge on an officer who has shown him disrespect and a
dramatic encounter with a prostitute. Seen by many as the first
existentialist novel and showcasing the best of Dostoevsky's dry
humour, Notes from Underground was a pivotal moment in the
development of modern literature and has inspired countless
novelists, thinkers and film-makers.
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Theatre in Towns (Hardcover)
Helen Nicholson, Jenny Hughes, Gemma Edwards, Cara Gray
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R1,442
Discovery Miles 14 420
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Ships in 9 - 15 working days
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The only academic study of the role of theatre in towns, focusing
on post-industrial, market and seaside towns. Written for theatre
academics and students, with a secondary readership in cultural
geography and cultural/social policy. Draws on historical and
existing experiences of volunteer-led, community, professional
theatre in towns, and offers ways in which the relationship between
theatre and towns can continue to be assessed in the future.
Precariousness and the Performances of Welfare brings together an
international group of artists, activists and scholars to explore
precarity in the contexts of applied and socially engaged theatre.
The policy of austerity pursued by governments across the global
North following the financial crisis of 2008 has renewed interest
in issues of poverty, economic inequality and social justice.
Emerging from European contexts of activism and scholarship,
'precarity' has become a shorthand term for the permanently
insecure conditions of life under neoliberal capitalism and its
associated stripping back of social welfare protections. This
collection explores a range of theatre practice, including activist
theatres, theatre and health projects, the community work of
regional theatres, arts-led social care initiatives, people's
theatres and youth arts programmes. Comprising full-length chapters
and shorter pieces, the collection offers new perspectives on
social theatre projects as creative occasions of occupation that
generate a sense of security in a precarious world. This book was
originally published as a special issue of RiDE: The Journal of
Applied Theatre and Performance.
Precariousness and the Performances of Welfare brings together an
international group of artists, activists and scholars to explore
precarity in the contexts of applied and socially engaged theatre.
The policy of austerity pursued by governments across the global
North following the financial crisis of 2008 has renewed interest
in issues of poverty, economic inequality and social justice.
Emerging from European contexts of activism and scholarship,
'precarity' has become a shorthand term for the permanently
insecure conditions of life under neoliberal capitalism and its
associated stripping back of social welfare protections. This
collection explores a range of theatre practice, including activist
theatres, theatre and health projects, the community work of
regional theatres, arts-led social care initiatives, people's
theatres and youth arts programmes. Comprising full-length chapters
and shorter pieces, the collection offers new perspectives on
social theatre projects as creative occasions of occupation that
generate a sense of security in a precarious world. This book was
originally published as a special issue of RiDE: The Journal of
Applied Theatre and Performance.
The Companion Guide to St Petersburg was first published in spring
2003 to coincide with the tercentenary of the founding of the
city.Most visitors to St Petersburg have heard at least four facts
about it: that it is 'the Venice of the North'; that a vast number
of workmen, perhaps a hundred thousand, died in the early years of
its construction; that it was built on uninhabited marshes; and
that it was founded on territory which did not and never had
belonged to Russia. These 'facts' have one feature in common: none
of them is true. Few people can say this with more authority that
Kyril Zinovieff, who comes from a family associated with the
administration of St Petersburg since the eighteenth century. He
recalls being taken as a child in 1917 to see the damage done to
the Winter Palace - which he found regettably unspectacular. And
more: 'My sister and I may have been two of the last people still
alive to have seen Rasputin' is the startling beginning of another
chapter. His knowledge of the history of his city, where every
stone tells a story, is encyclopaedic; his respect for the
spiritual strength of its inhabitants unbounded; he has produced a
work of charm, humour and erudition with a unique insight into this
amazing city. KYRIL ZINOVIEFF, as Kyril Fitzlyon, has made noted
translations from the Russian, including the Diary of Vaslav
Nijinsky; this book has been written with JENNY HUGHES, formerly of
the Economist and the Guardian.
As the twenty-first century moves towards its third decade, applied
theatre is being shaped by contemporary economic and environmental
concerns and is contributing to new conceptual paradigms that
influence the ways in which socially engaged art is produced and
understood. This collection offers fresh perspectives on the
aesthetics, politics and histories of applied theatre. With
contributions from leading scholars in the field, the book
illuminates theatre in a diverse range of global contexts and
regions. Divided into three sections - histories and cultural
memories; place, community and environment; and poetics and
participation - the chapters interweave cutting-edge theoretical
insights with examples of innovative creative practice that
traverse different places, spaces and times. Essential reading for
researchers and artists working within applied theatre, this
collection will also be of interest to those in theatre and
performance studies, education, cultural policy, social history and
cultural geography.
As the twenty-first century moves towards its third decade, applied
theatre is being shaped by contemporary economic and environmental
concerns and is contributing to new conceptual paradigms that
influence the ways in which socially engaged art is produced and
understood. This collection offers fresh perspectives on the
aesthetics, politics and histories of applied theatre. With
contributions from leading scholars in the field, the book
illuminates theatre in a diverse range of global contexts and
regions. Divided into three sections - histories and cultural
memories; place, community and environment; and poetics and
participation - the chapters interweave cutting-edge theoretical
insights with examples of innovative creative practice that
traverse different places, spaces and times. Essential reading for
researchers and artists working within applied theatre, this
collection will also be of interest to those in theatre and
performance studies, education, cultural policy, social history and
cultural geography.
Performance in a time of terror offers a thought-provoking
investigation of the way performance has given shape and form to
wars on terror past and present, as both a tactic of violence and a
strategy of resistance. The book focuses on an array of
performances created during the 'war on terror' of the first decade
of the twenty-first century. Beginning with the spate of carefully
rehearsed beheadings carried out by Islamic insurgents in Iraq in
2004, a key proposal is that the radical in performance can be most
clearly identified in acts of violence that have obliterated life.
Here, the reader is also taken back in time to encounter how
performance was employed as part of counterinsurgency operations
during the 'war on terrorism' in Northern Ireland (1969-1998).
Moving on to explore how theatre-makers and performance activists
have used performance to generate habitable worlds for life in
times of crisis, Hughes argues for a re-engagement with the
conservative in the critical project of art-making. As part of
this, original discussions of the resurgence of political theatre
on London stages and the proliferation of performative anti-war
activism during the war in Iraq (2003-2008), are provided. Also
documented are an extraordinary series of theatre productions
commissioned by counterterrorism agencies following the suicide
attacks in the UK in 2005. Performance in a time of terror will
appeal to researchers and students of contemporary theatre and
performance, especially those interested in the politics of
performance. It will also be of general interest to anyone
researching wars on terror and terrorism from an interdisciplinary
perspective. -- .
Leo Tolstoy's most personal novel, Anna Karenina scrutinizes
fundamental ethical and theological questions through the tragic
story of its eponymous heroine. Anna is desperately pursuing a
good, "moral" life, standing for honesty and sincerity. Passion
drives her to adultery, and this flies in the face of the corrupt
Russian bourgeoisie. Meanwhile, the aristocrat Konstantin Levin is
struggling to reconcile reason with passion, espousing a Christian
anarchism that Tolstoy himself believed in. Acclaimed by critics
and readers alike, Anna Karenina presents a poignant blend of
realism and lyricism that makes it one of the most perfect,
enduring novels of all time.
Hadji Murat, one of the most feared and venerated mountain chiefs
in the Caucasian struggle against the Russians, defects from the
Muslim rebels after feuding with his ruling imam, Shamil. Hoping to
protect his family, he joins the Russians, who accept him but never
put their trust in him - and so Murat must find another way to end
the struggle. Tolstoy knew as he was writing this, his last work of
fiction, that it would not be published in his lifetime, and so
gave an uncompromising portrayal of the Russians' faults and the
nature of the rebels' struggle. In the process, he shows a mastery
of style and an understanding of Chechnya that still carries great
resonance today.
Text in Arabic. Audrey is bigger than she was yesterday. Now she
needs a bigger house. So she tells her dad to build her one. At the
top of a tree. It is an ideal house. It has a bathtub for
snorkeling, a place to drink tea, and somewhere to hide the dirty
cups. The house is perfect in every way. Except for one thing. This
is a gently humorous story that explores the clash between a quest
for independence and the longing for security.
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