Ottoman Architecture is the first modern history of Ottoman architecture written by Ottomans themselves, yet it is little known outside the field of late Ottoman studies. This magnificently-illustrated volume codifies the empire’s architectural history into a series of preliminary stages culminating in the efflorescence of the Ottoman classical tradition in the 16th century. At the same time, the text positions this imperial architectural legacy in relation to modernising projects in the late Ottoman Empire; in particular, the 'Ottoman architectural Renaissance' sponsored by Sultan Abdülaziz (r. 1861 face=Calibri>–1876). Moreover, as has been argued in other research, architecture is a prism through which the authors offer a larger analysis of modernity in the Ottoman Empire; an analysis where built heritage serves 'as an index for various stages in the transformation of the Ottoman state and civilization'.

Newly available in paperback, this is a detailed description of the intensive work process involved in the making of Toy Symphony, a play by Michael Gow, directed by Neil Armfield and brought to the stage for the first time in December 2007 by Company B at the Belvoir Street Theatre in Sydney. Drawing on years of research McAuley rejects simplistic notions of playwright or director as 'auteur'. Her account makes possible a more nuanced understanding of the real artistry involved in what it is that the director does and what the playwright contributes to the process. The book is in two parts. The first describes the work process and the complex relations between participants noted by McAuley during her intensive observation of the rehearsal period throughout the run of the production. The second part consists of a number of essays reflecting on aspects of the work observed, and providing a theoretical framework for deeper understanding of the rehearsal practices described. McAuley concludes that contemporary theatre constitutes a highly effective model of group creativity that could be applied in many different institutional contexts. -- .

This is a detailed description of the intensive work process involved in the making of Toy Symphony, a new play by Michael Gow, directed by Neil Armfield and brought to the stage for the first time in December 2007 by Company B at the Belvoir Street Theatre in Sydney. Drawing on years of research McAuley rejects simplistic notions of playwright or director as "auteur." Her account makes possible a more nuanced understanding of the real artistry involved in what it is that the director does and what the playwright contributes to the process. The book is in two parts. The first describes the work process and the complex relations between participants noted by McAuley during her intensive observation of the rehearsal period throughout the run of the production. The second part consists of a number of essays reflecting on aspects of the work observed, and providing a theoretical framework for deeper understanding of the rehearsal practices described. McAuley concludes that contemporary theatre constitutes a highly effective model of group creativity that could be applied in many different institutional contexts.

April 6, 1944. A detachment of German soldiers arrive in a rural French town, hunting down resistance fighters, many of whom are hiding in the region. More than sixty years later, the villagers clearly remember the day when four peasants from a nearby village were taken hostage and shot as an example to others. But do they remember the whole story? Jean-Marie Borzeix sets out to investigate the events of Holy Thursday 1944, and to reveal the hidden truths of that fateful day. He uncovers the story of a mysterious 'fifth man' shot alongside the resisters and eventually unravels a trail which leads him to Paris, Israel and into the darkest corners of the Holocaust in France. A captivating story, the events of this day in a small, entirely typical, town illuminate the true impact of World War II in France.

Theorists in the humanities and social sciences are increasingly aware of the need to account for the dynamic role played by spatial factors in nearly every domain of human experience. Theatre, as an art form that is utterly dependent on its own spatiality, has a major contribution to make to contemporary debates about space and place. In this book, academics from Australian departments of theatre and performance studies are joined by others from anthropology, cultural and environmental studies as well as site-based performance makers, in order to explore the nexus between place and performance in practices ranging from mainstream theatre and site-specific performance to political demonstrations, rituals of commemoration and social display. While the places and performances they describe are necessarily local, the issues raised are not peculiar to Australia and will resonate with people in many countries where incoming settlers have displaced indigenous populations, where large-scale migration has unsettled resident populations, where atrocities have been committed (in peacetime as well as war) and people have somehow to find ways to live in places marked by the memory of trauma. The book ends with a theoretical afterword by anthropologist Lowell Lewis, proposing some important refinements to ongoing critical discourse about space and place.