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Lowborn High
David Barnett; Artworks by Anna Morozova
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R514
R255
Discovery Miles 2 550
Save R259 (50%)
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Ships in 12 - 17 working days
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For as long as anyone can remember, Wychdusk Manor has been the
school to which all the top magical novices are sent, where they
are trained to become the world’s greatest wizards. There,
students are taught every form of spellcasting by the wisest of
mages, and to be part of Wychdusk’s alumni is an incredible
honour. But what about those that don’t make the grade, that
don’t have the talent or the family name to make it to this
prestigious establishment? For them, there’s LOWBORN HIGH, a
rundown inner-city comprehensive that is often struggling with
funding, but its pupils can still be capable of some truly amazing
feats. Androgeus Frost has recently joined the school, becoming
friends with Maisy, Ali and Drill.
A medieval Catalan verse fantasy by Bernat Metge, the most
important Catalan writer of the fourteenth century, Written around
1381 by Bernat Metge, the most important Catalan writer of the
fourteenth century, the Llibre de Fortuna i Prudencia is a fantasy
in verse, drawing on learned sources, principally The Consolation
of Philosophy by Boethius. Early one morning, Bernat, the
protagonist and narrator, decides to alleviate his sorrows by
strolling around the harbour of Barcelona. He meets an old man,
apparently a beggar, who tricks him into getting into a boat which,
despite the absence of sails and oars, conveys him to an island
where the goddess Fortuna appears to him. In a heated discussion,
Bernat blames her for all his misfortunes. His next meeting is with
Prudenciawho is accompanied by seven maidens representing the
liberal arts. Prudencia is able to lessen his despair, and exhorts
him to trust in providence and renounce material possessions. When
she considers him cured, she and the maidens send him sailing back
to Barcelona, where he quickly goes home to avoid gossiping
townsfolk. Published in association with Editorial Barcino,
Barcelona. DAVID BARNETT, whose doctorate is from Queen Mary,
University of London, continues to be involved in research on
medieval Catalan literature.
Nineteenth century London is the center of a vast British Empire, a
teeming metropolis where steam-power is king and airships ply the
skies, and where Queen Victoria presides over three quarters of the
known world-including the east coast of America, following the
failed revolution of 1775.Young Gideon Smith has seen things that
no green lad of Her Majesty's dominion should ever experience.
Through a series of incredible events Gideon has become the newest
Hero of the Empire. But Gideon is a man with a mission, for the
dreaded Texas pirate Louis Cockayne has stolen the mechanical
clockwork girl Maria, along with a most fantastical weapon-a great
brass dragon that was unearthed beneath ancient Egyptian soil.
Maria is the only one who can pilot the beast, so Cockayne has
taken girl and dragon off to points east.Gideon and his intrepid
band take to the skies and travel to the American colonies hot on
Cockayne's trail. Not only does Gideon want the machine back, he
has fallen in love with Maria. Their journey will take them to the
wilds of the lawless lands south of the American colonies-to free
Texas, where the mad King of Steamtown rules with an iron fist
(literally), where life is cheap and honor even cheaper.Does Gideon
have what it takes to not only save the day but win the girl?
Nineteenth century London is the centre of a vast British Empire.
Airships ply the skies and Queen Victoria presides over
three-quarters of the known world-including the East Coast of
America, following the failed revolution of 1775. London might as
well be a world away from Sandsend, a tiny village on the Yorkshire
coast. Gideon Smith dreams of the adventure promised him by the
lurid tales of Captain Lucian Trigger, the Hero of the Empire, told
in Gideon's favourite "penny dreadful." When Gideon's father is
lost at sea in highly mysterious circumstances Gideon is convinced
that supernatural forces are at work. Deciding only Captain Lucian
Trigger himself can aid him, Gideon sets off for London. On the way
he rescues the mysterious mechanical girl Maria from a tumbledown
house of shadows and iniquities. Together they make for London,
where Gideon finally meets Captain Trigger. But Trigger is little
more than an ageing fraud, providing cover for the covert
activities of his lover, Dr. John Reed, a privateer and sometime
agent of the British Crown. Looking for heroes but finding only
frauds and crooks, it falls to Gideon to step up to the plate and
attempt to save the day...but can a humble fisherman really become
the true Hero of the Empire?
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2000 AD Regened Volume 4 (Paperback)
Ramzee; Illustrated by Korinna Veropoulou; Liam Johnson; Illustrated by Duane Redhead; Gordon Rennie, …
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R291
Discovery Miles 2 910
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Ships in 12 - 17 working days
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"The joy of Regened is that it's a proper all-ages thing, something
for young and old" - Comicon.com2000 AD's all ages science fiction
anthology series returns with a fourth thrill-powered collection of
epic, action packed stories featuring all of your favourite
characters and a brand new, exclusive Harlem Heroes strip! Cadet
Dredd goes undercover as a renegade runaway! It's the Harlem Heroes
versus the Harlem Hellcats in the most dangerous - and deadly -
aeroball game Mega-City One's ever seen! Does Chopper have what it
takes to evade the Judges and win the Sky Surfing competition?
Travel to other dimensions with Jaina and Jacen in 'Splorers! It's
the Galaxy's best and brightest all-ages comic - it's 2000 AD
Regened!
""I'm good Hamlet gi'me a cause for grief"" At first glance,
readers of The Hamletmachine (1979) could be forgiven for wondering
whether it is actually a play at all: it opens with a montage of
texts that are not ascribed to a character, there is no vestige of
a plot, and the whole piece lasts a total of ten pages. Yet, Heiner
Muller's play regularly features in theatres' repertoires and is
frequently staged by university theatre departments. In four short
chapters, David Barnett unpicks the complexities of The
Hamletmachine's writing and frames its author as an experimental,
politically committed writer who confronts the shortcomings of his
age. In considering the problems Muller poses for the play's
performance, he also discusses two exemplary productions in order
to show how the work can engage very different audiences. This book
examines why such a compact, radically open, and yet seemingly
obscure play has proved so popular.
Political conflicts on Earth erupt into open hostilities between
their colonies in space, with Xenomorphs as the ultimate weapon.
Political tensions boil over on Earth, spreading to the outer
fringes of known space as the UK colony of New Albion breaks with
the Three World Empire. When an oil-drilling facility on nearby
LV-187 is destroyed, its French colonists slaughtered, the British
are blamed. Military forces arrive from the Independent Core
Systems and combat erupts. Trapped in the middle are Cher Hunt and
Chad Mclaren. Cher is trying to find out who was responsible for
the death of her sister, Shy Hunt (of McAllen Integrations from
Alien: Into Charybdis). At the same time Mclaren, accompanied by
the synthetic known as Davis, follows in the footsteps of his late
wife, Amanda Ripley, seeking to stop the weaponization of
Xenomorphs. When a horde of the deadly aliens overwhelms both
groups, however, their only hope may lie with Royal Marine Corps
unit known as "God's Hammer."
With over 80 scholarly articles, reviews, and critical
interventions from the last 50 years, Bertolt Brecht: Critical and
Primary Sources set covers the key periods of Brecht's life, from
his time in Augsburg (1898-1918) through the Weimer Republic
(1918-1933), exile (1933-1948) and the German Democratic Republic
(1949-1956). It also explores his theories, fundamentally his
belief in the theatre's ability to represent and change the world,
core practices and relationships. Alongside primary sources that
include writings by Brecht published in English for the first time,
such as his short but important reflection in 'originality' in
theatre production, key featured scholars include Fredric Jameson
and his essay 'Episch, or, the Third Person', and pieces on
Brecht's collaborative working methods by Claus and Wera
Kuchenmeister, and the director Egon Monk. Volume 1 covers Brecht's
life and work, including essays on his famous Mother Courage and
Her Children, production reviews, poetry, novels and short stories,
with some thoughts on his journals. Volume 2 covers theory,
containing essays and primary writings on Brechtian terminology,
and some of the more enigmatic terms like 'Epic theatre',
'Verfremdung', 'Gestus' and 'Fabel', features a survey of important
theoretical works, a section on Brecht on non-theatre media, his
relationship to other major thinkers, ideas and sources and the
reception of his ideas. Volume 3 covers practice, including
Brecht's practice as documenter and director, beginning with his
disastrous start in the Weimar Republic through to his later role
as director as the Berliner Ensemble, his relationships with other
practitioners and his own collaborators, reviews of important
productions and global receptions. Each volume includes a
contextualizing introduction surveying the topics covered and the
development of scholarship on Brecht.
"I'm good Hamlet gi'me a cause for grief" At first glance, readers
of The Hamletmachine (1979) could be forgiven for wondering whether
it is actually a play at all: it opens with a montage of texts that
are not ascribed to a character, there is no vestige of a plot, and
the whole piece lasts a total of ten pages. Yet, Heiner Muller's
play regularly features in theatres' repertoires and is frequently
staged by university theatre departments. In four short chapters,
David Barnett unpicks the complexities of The Hamletmachine's
writing and frames its author as an experimental, politically
committed writer who confronts the shortcomings of his age. In
considering the problems Muller poses for the play's performance,
he also discusses two exemplary productions in order to show how
the work can engage very different audiences. This book examines
why such a compact, radically open, and yet seemingly obscure play
has proved so popular.
Examines, then employs the metaphor of cultural impact in an effort
to understand how culture works in the German-speaking world. How
to gauge the impact of cultural products is an old question, but
bureaucratic agendas such as the one recently implemented in the UK
to measure the impact of university research (including in German
Studies) are new. Impact isseen as confirming a cultural product's
value for society -- not least in the eyes of cultural funders. Yet
its use as an evaluative category has been widely criticized by
academics. Rather than rejecting the concept of impact, however,
this volume employs it as a metaphor to reflect on issues of
transmission, reception, and influence that have always underlain
cultural production but have escaped systematic conceptualization.
It seeks to understand how culture works in the German-speaking
world: how writers and artists express themselves, how readers and
audiences engage with the resulting products, and how academics are
drawn to analyze this dynamic process. Formulating such questions
afresh in the context of German Studies, the volume examines both
contemporary cultural discourse and the way it evolves more
generally. It links such topics as authorial intention, readerly
reception, intertextuality, andmodes of perception to less commonly
studied phenomena, such as the institutional practices of funding
bodies, that underpin cultural discourse. Contributors: David
Barnett, Laura Bradley, Rebecca Braun, Sarah Colvin, Anne Fuchs,
Katrin Kohl, Karen Leeder, Jurgen Luh, Jenny McKay, Ben Morgan,
Gunther Nickel, Chloe Paver, Joanne Sayner, Matthew Philpotts, Jane
Wilkinson. Rebecca Braun is Executive Dean of the College of Arts,
Social Sciences, & Celtic Studies at the National University of
Ireland in Galway and Lyn Marven is Lecturer in German at the
University of Liverpool.
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Methode Rainer Werner Fassbinder (Paperback)
Rainer Werner Fassbinder Foundation, Berlin; Designed by Karl-Heinz Best; Contributions by David Barnett, Isabelle Bastian, Ines Bayer
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R798
Discovery Miles 7 980
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Ships in 12 - 17 working days
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Fassbinder's prominence, his creative non-conformity and artistic
radicalism led to now legendary films, television series and
theatrical plays. Works such as Ali: Fear Eats the Soul, The
Marriage of Maria Braun, Eight Hours Don't Make a Day, Berlin
Alexanderplatz and Querelle have etched themselves into our
collective visual memory. He was exceedingly prolific in his short
life, writing, directing or shooting some 45 feature films and 25
plays. Fassbinder was an artist who succeeded in synthesizing
radical subjectivity and social analysis in his works. He lived and
demanded intensity. His sometimes unwieldy, critical stance that
stood in contrast to often affectionate portrayals of people
regardless of their respective social backgrounds was unparalleled
and also of deeply respectful consistency. Often viewed
controversially during his lifetime, Fassbinder's work has lost
none of its relevance, intensity and charisma to this day. Texts
by: David Barnett, Isabelle Bastian, Ines Bayer, Elisabeth Bronfen,
Rai Gandra, Andrea Hartmann, Udo Kier mit Ulrich Sonnenschein,
Susanne Kleine, Juliane Maria Lorenz-Wehling, Verena Lueken,
Hans-Helmut Prinzler, Hans-Peter Reichmann, Annette Reschke, Ralf
Schenk, Wolfram Schutte, Bernd Schultheis, Petra Terhoeven, Michael
Toeteberg, Barbara Vinken, Nicolaus Wackerbarth, Wim Wenders
By 1800, London was regarded as the world's greatest city, at the
centre of the world's greatest empire. London: Hub of the
Industrial Revolution examines this and also explores how London
was at the heart of the Industrial Revolution. Traditionally,
historians have regard the city as a minor player in the Industrial
Revolution but, in this book, David Barnett argues that the capital
was at the forefront of industrial development, providing financial
aid and essential services to other towns and cities. Based on
original archival material, including insurance records and trade
directories, this book paints a portrait of London during a period
of rapid and unprecedented development as the world's first great
modern industrial city.
Encountering Ensemble, is a text for students, teachers,
researchers and practitioners who wish to develop a deeper
understanding of the history, conceptual foundations and
practicalities of the world of ensemble theatre. It is the first
book to draw together definitions and practitioner examples, making
it a cutting edge work on the subject. Encountering Ensemble
combines historical and contemporary case studies with a wide range
of approaches and perspectives. It is written collaboratively with
practitioners and members from the academic community and is
divided into three sections: 1. Introduction and an approach to
training ensembles 2. Practitioner case studies and analysis of
specific practical approaches to training ensembles (or individuals
in an ensemble context) 3. Succinct perspectives from practitioners
reflecting on a range of questions including: What is an ensemble?;
the place of ensemble in the contemporary theatre landscape; and
training issues.
The leading publication on Brecht, his work, and topics of interest
to him; this annual volume documents the International Brecht
Society's 2016 symposium, "Recycling Brecht." Published for the
International Brecht Society by Camden House, the Brecht Yearbook
is the central scholarly forum for discussion of Brecht's life and
work and of topics of particular interest to him, especially the
politics of literature and of theater in a global context. It
includes a wide variety of perspectives and approaches, and, like
Brecht himself, is committed to the concept of the use value of
literature, theater, and theory. Volume42 features a selection of
the papers given and protocols of the events held at the
International Brecht Society's "Recycling Brecht" symposium at St.
Hugh's College, Oxford, in June 2016. The theme of recycling is
understood bothas a description of Brecht's own creative practice
and as an activity applied to his works by others. The volume
includes keynote papers by Hans-Thies Lehmann and Amal Allana on
Brecht's reception of Antigone and on the reception and recycling
of Brecht in India, respectively. Other papers are on a wide range
of topics, from Brecht's own "recycling" of Shakespeare and others,
through the reception of his own works in a range of contexts and
by later writers, to contemporary works that may be understood as
post-Brechtian. The final section, introduced by an extended
interview with American playwright Tony Kushner, documents
additional creative responses to the theme. Volume co-editors Tom
Kuhn and David Barnett are, respectively, Professor of
Twentieth-Century German Literature at the University of Oxford and
Professor of Theatre at the University of York. Managing Editor
Theodore F. Rippey is Associate Professor of German at Bowling
Green State University.
Students from traditionally marginalized groups lack voice and
become invisible within the educational setting, subject to the
pacing of curriculum delivery by those who speak out. Evaluation of
assessment data finds an overrepresentation of students from
traditionally marginalized groups falling in the lower tiers of
student achievement creating achievement gaps (Ginter and Barnett,
2011). According to Jones and Gerig (1994), 25-33% of the students
in schools cannot or will not speak out. These students are often
over-looked and over-represented in our dropout rates (U.S.
Department of Education, 2010). Christian (2011) found that
students who have been retained during high school are 50% more
likely to dropout. Schultz (2009) identified the following
categories as silence as resistance, power, protection, and
response to trauma, and she noted that students who have these
issues often have academic difficulties. Participants in this study
included eighty-five high school students in one rural, eastern
Kentucky school district over a two and one-half year period.
Surveys and interviews were conducted to answer the question of why
students are silent in the classroom. Using Schultz's (2009)
phenomenology study as the foundation another category became
evident as the interviews continued. This method showed that social
expectations, hence social conformity, have begun to emerge as a
classification. This study used a qualitative approach to action
research with supporting data (i.e. grades, attendance) together
with a grounded theory approach to identify external and internal
factors of what impacts student voice. Results from this study have
been recorded and analyzed. Results indicated that all but two
research participants have since experienced improved grades and
attendance, some have gotten involved in extracurricular
activities, and eight have recently graduated while five are
seeking higher education. One of the students dropped out to avoid
truancy charges, but attained his GED within weeks of withdrawing.
Nineteenth century London is the center of a vast British Empire, a
teeming metropolis where steam-power is king and airships ply the
skies, and where Queen Victoria presides over three quarters of the
known world-including the east coast of America, following the
failed revolution of 1775.Young Gideon Smith has seen things that
no green lad of Her Majesty's dominion should ever experience.
Through a series of incredible events Gideon has become the newest
Hero of the Empire. But Gideon is a man with a mission, for the
dreaded Texas pirate Louis Cockayne has stolen the mechanical
clockwork girl Maria, along with a most fantastical weapon-a great
brass dragon that was unearthed beneath ancient Egyptian soil.
Maria is the only one who can pilot the beast, so Cockayne has
taken girl and dragon off to points east.Gideon and his intrepid
band take to the skies and travel to the American colonies hot on
Cockayne's trail. Not only does Gideon want the machine back, he
has fallen in love with Maria. Their journey will take them to the
wilds of the lawless lands south of the American colonies-to free
Texas, where the mad King of Steamtown rules with an iron fist
(literally), where life is cheap and honor even cheaper.Does Gideon
have what it takes to not only save the day but win the girl?
Nineteenth century London is the center of a vast British
Empire, a teeming metropolis where steam-power is king and airships
ply the skies, and where Queen Victoria presides over three
quarters of the known world--including the east coast of America,
following the failed revolution of 1775.
Young Gideon Smith has seen things that no green lad of Her
Majesty's dominion should ever experience. Through a series of
incredible events Gideon has become the newest Hero of the Empire.
But Gideon is a man with a mission, for the dreaded Texas pirate
Louis Cockayne has stolen the mechanical clockwork girl Maria,
along with a most fantastical weapon--a great brass dragon that was
unearthed beneath ancient Egyptian soil. Maria is the only one who
can pilot the beast, so Cockayne has taken girl and dragon off to
points east.
Gideon and his intrepid band take to the skies and travel to the
American colonies hot on Cockayne's trail. Not only does Gideon
want the machine back, he has fallen in love with Maria. Their
journey will take them to the wilds of the lawless lands south of
the American colonies - to free Texas, where the mad King of
Steamtown rules with an iron fist (literally), where life is cheap
and honor even cheaper.
Does Gideon have what it takes to not only save the day but win
the girl?
David Barnett's Gideon Smith and the Brass Dragon is a
fantastical steampunk fable set against an alternate historical
backdrop: the ultimate Victoriana/steampunk mash-up
Bertolt Brecht's reputation as a flawed, irrelevant or difficult
thinker for the theatre can often go before him to such an extent
that we run the risk of forgetting the achievements that made him
and his company, the Berliner Ensemble, famous around the world.
David Barnett examines both Brecht the theorist and Brecht the
practitioner to reveal the complementary relationship between the
two.This book aims to sensitize the reader to the approaches Brecht
took to the world and the stage with a view to revealing just how
carefully he thought about and realized his vision of a
politicized, interventionist theatre. What emerges is a nuanced
understanding of his concepts, his work with actors and his
approaches to directing. The reader is encouraged to engage with
Brecht's method that sought to 'make theatre politically' in order
to locate the innovations he introduced into his stagecraft. There
are many examples given of how Brecht's ideas can be staged, and
the final chapter takes two very different plays and asks how a
Brechtian approach can enliven and illuminate their production.
Ultimately, the book invites readers, students and theatre-makers
to discover new ways of apprehending and making use of Brecht.
Bertolt Brecht's reputation as a flawed, irrelevant or difficult
thinker for the theatre can often go before him to such an extent
that we run the risk of forgetting the achievements that made him
and his company, the Berliner Ensemble, famous around the world.
David Barnett examines both Brecht the theorist and Brecht the
practitioner to reveal the complementary relationship between the
two.This book aims to sensitize the reader to the approaches Brecht
took to the world and the stage with a view to revealing just how
carefully he thought about and realized his vision of a
politicized, interventionist theatre. What emerges is a nuanced
understanding of his concepts, his work with actors and his
approaches to directing. The reader is encouraged to engage with
Brecht's method that sought to 'make theatre politically' in order
to locate the innovations he introduced into his stagecraft. There
are many examples given of how Brecht's ideas can be staged, and
the final chapter takes two very different plays and asks how a
Brechtian approach can enliven and illuminate their production.
Ultimately, the book invites readers, students and theatre-makers
to discover new ways of apprehending and making use of Brecht.
This volume contains Brecht's post-1950 adaptations of world
dramatic classics for the Berliner Ensemble. Brecht's remodeled
versions show all of the great dramatist's characteristic
preoccupations: hatred of personal greatness, admiration of the
people and hatred of war unless waged on behalf of the people who,
to him, were the embodiment of wisdom and good sense. The Tutor is
a 1950s adaptation of an 18th century play by J.M.R. Lenz and is a
savage portrait of the subservience of German intellectuals and
schoolmasters to the whims of the rich and powerful. Coriolanus is
an unfinished adaptation of Shakespeare's play, using the Roman
story to reflect Marxist theories of class struggle. Don Juan, a
collaborative adaptation of Moliere's play, redefines the charming
social parasite as both a ridiculous egoist and an example of a
dangerously attractive, theatrically mythic personality type. The
Trial of Joan of Arc at Rouen adapts a radio play by Anna Seghers
which was based on the original records of the trial of Joan of
Arc. Trumpets and Drums is an adaptation of Farquhar's 18th century
Restoration comedy The Recruiting Officer, which transfers the
action to the American Civil War and introduces comments on
imperialism and colonial conquest.
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