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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
In the theatre world, ‘off book’ signifies a deadline in the
creative process: the date by which performers are to have
memorised their lines and will no longer be allowed to carry their
play script – the ‘book’ – on stage. As such, Off Book
makes a strangely appropriate title for a book about devised
performance in higher education. In its usual context, ‘off
book’ captures the tension between ephemeral, live performance
and durable, author-ized literature: in one sense, the book – the
written play – is the essential core, the seed that gives the
performance life and meaning. Yet the opposite could be equally
true: an ‘on book’ performance would not really be a play at
all, and an actor reciting lines out of a script in hand is not
really acting. A play is only realised in, or through, a
performance. We cannot really learn, or play, our part until we can
put the book down and enter the stage without
it.   Devised performance might be described as
‘theatre without the book.’ Yet devisors also often use books
– books like this one, practical guidebooks and how-to manuals,
as well as a myriad of literature outside the discipline mined for
inspiration. This is particularly manifest when devising in the
context of higher education - a milieu, like theatre, wherein books
traditionally signify authority, status, and meaning. So, to the
extent that theatres and campuses are places where one expects
everything to be done ‘by the book,’ devising on campuses is
rebellious, even sacrilegious. But on the other hand, both the
theatre and the university are expected to challenge tradition,
defy expectations, and conduct experiments. The book is presented
in four sections reflecting the range of roles devising plays in
higher education. The first section, Devising Pedagogy: Teaching
Transferable Tools, examines how and why practitioners, educators,
and programs conceptualise and plan for devising with adult
learners in a range of higher education contexts. The second,
Devising Friction: Ensembles, Individuals, and the Institution,
shifts the discussion to the classroom, where abstract, pedagogical
rubber meets the road of concrete reality. The third, Devising (by)
Degrees, Practice-led postgraduate devising projects features
contributions by emerging scholar-practitioners who engage with
devising as both an object and method of creative scholarship.
Finally, the chapters in Devising Bridges: University-Community
Engagement explore how devising connects higher education
institutions with the public they are intended to serve —
particularly in populations and communities that are marginalised
within, or even explicitly excluded from participating in, higher
education, such as children and people with intellectual
disabilities. A valuable and unique resource for drama educators in
universities, university students in education, drama, and arts
managements, graduate students conducting research, theatre
historians, practicing devised theatre artists.
The articles here deal with liturgical music. Two topics receive
special attention: the curiously negative role that musical
instruments play in ancient cult music and the development of
ecclesiastical song in early Christianity. The first series of
articles treats classical Greek ethical notions of instruments, the
status of instruments in Temple and Synagogue, and the absence of
instruments from early Christian and medieval church music. The
next parts trace the psalmody and hymnody of the Christian
tradition, from its roots in Judaism to the origins of Gregorian
chant in 7th-century Rome. Throughout, the writings of the
Christian Church fathers such as Augustine, Ambrose, Basil and John
Chrysostom underpin the author's analysis and presentation.
From the series examining the development of music in specific
places during particular times, this book looks at ancient and
medieval music, from Classical and Christian antiquity to the
emergence of the Gregorian chant and the medieval town and Court.
An excellent starting point for graduate-level econometrics, this comprehensive, well-organized and well-written introductory text includes all of the major topic areas of the subject, clearly explained through concepts rather than relying on complex algebra, and carefully pitched at the right level for students who may not already have a strong background in the subject. The text also includes discussion of bootstrap inference in order to aid students in understanding inference based on exact and asymptotic distributions.
At nightfall on June 22, 1965, a soldier walked in from the
outskirts of a small town in the Dominican Republic and reported
that he had just shot and killed two policemen and an outspoken
Canadian Catholic priest. It was the opening scene in a mystery
that, forty years later, compels J.B. MacKinnon, a nephew of the
murdered missionary, to investigate what many believe was a
carefully plotted assassination. MacKinnon's search takes him to
corners of the country that are far from the paradise seen by
millions of tourist visitors. He meets with former revolutionaries,
shadowy generals who live in hiding and the struggling Dominicans
for whom the dead priest is a martyr, perhaps even a saint. Dead
Man in Paradise is a true story with the suspense of a classic
mystery novel, the immediacy of reportage and the insight of a
travelogue. More than any of these, it is a personal examination of
one of the gravest challenges of our times: finding a balance
between our longing to hold the guilty to account for their crimes
and the deep human need to forgive.
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