|
Showing 1 - 9 of
9 matches in All Departments
More than one hundred years after Futurism exploded onto the
European stage with its unique brand of art and literature, there
is a need to reassess the whole movement, from its Italian roots to
its international ramifications. In wide-ranging essays based on
fresh research, the contributors to this collection examine both
the original context and the cultural legacy of Futurism. Chapters
touch on topics such as Futurism and Fascism, the geopolitics of
Futurism, the Futurist woman, and translating Futurist texts. A
large portion of the book is devoted to the practical aspects of
performing Futurist theatrical ideas in the twenty-first century.
Were those who worked in the theatres of the Third Reich willing
participants in the Nazi propaganda machine or artists independent
of official ideology? To what extent did Richard Strauss and Carl
Orff follow Nazi dogma? How did famous directors such as Gustaf
Grudgens and Jurgen Fehling react to the new regime? Why were
Shakespeare and George Bernard Shaw among the most performed
dramatists of the time? And why did the Nazis sanction Jewish
theatre? This is the first book in English about theater in the
entire Nazi period. Based on contemporary press reports, research
in German archives, and interviews with surviving playwrights,
actors, and musicians, it is a much needed guide to this neglected
area of European culture.
The foundations of research ethics are riven with fault lines
emanating from a fear that if research is too closely connected to
weighty social purposes an imperative to advance the common good
through research will justify abrogating the rights and welfare of
study participants. The result is an impoverished conception of the
nature of research, an incomplete focus on actors who bear
important moral responsibilities, and a system of ethics and
oversight highly attuned to the dangers of research but largely
silent about threats of ineffective, inefficient, and inequitable
medical practices and health systems. In For the Common Good:
Philosophical Foundations of Research Ethics, Alex John London
defends a conception of the common good that grounds a moral
imperative with two requirements. The first is to promote research
that generates the information necessary to enable key social
institutions to effectively, efficiently, and equitably safeguard
the basic interests of individuals. The second is to ensure that
research is organized as a voluntary scheme of social cooperation
that respects its various contributors' moral claims to be treated
as free and equal. Connecting research to the goals of a just
social order grounds a framework for assessing and managing
research risk that reconciles these requirements and justifies key
oversight practices in non-paternalistic terms. Reconceiving
research ethics as resolving coordination problems and providing
credible assurance that these requirements are being met expands
the issues and actors that fall within the purview of the field and
provides the foundation for a more unified and coherent approach to
domestic and international research. This is an open access title
available under the terms of a CC BY-NC-ND 4.0 license. It is free
to read at Oxford Scholarship Online and offered as a free PDF
download from OUP and selected open access locations.
The 18th century was a wealth of knowledge, exploration and rapidly
growing technology and expanding record-keeping made possible by
advances in the printing press. In its determination to preserve
the century of revolution, Gale initiated a revolution of its own:
digitization of epic proportions to preserve these invaluable works
in the largest archive of its kind. Now for the first time these
high-quality digital copies of original 18th century manuscripts
are available in print, making them highly accessible to libraries,
undergraduate students, and independent scholars.Delve into what it
was like to live during the eighteenth century by reading the
first-hand accounts of everyday people, including city dwellers and
farmers, businessmen and bankers, artisans and merchants, artists
and their patrons, politicians and their constituents. Original
texts make the American, French, and Industrial revolutions vividly
contemporary.++++The below data was compiled from various
identification fields in the bibliographic record of this title.
This data is provided as an additional tool in helping to insure
edition identification: ++++British LibraryT119926Vertical chain
lines. The second part has separate titlepage, pagination and
register.London: printed for the author; and sold by Mr. Comyn, Mr.
James, and Mr. Ward; Mr. Keith; Mr. Baldwin; Mr. Russel; and most
other booksellers, 1758. 2v.; 4
Four plays from the rich theatrical world of Catalan drama
Since the early 1990s, Catalonia has proven to the world that its
rich heritage and artistic tradition are worthy of focus and study.
The plays in the volume reflect the post-Franco era during which
Barcelona and other parts of Catalonia have become the focal point
for new dramatic expression.
Joan Brossa (1919-1998) was the spiritual father of this new
wave of artistic revolution in writing. His play The Quarrelsome
Party is a dark family drama as surreal as any bad dream. The
Audition by Rodolf Sirera has its roots in the author's anti-Franco
stance. This in-the-theatre drama has the mystery cat-and-mouse
playfulness of Anthony Shaffer's Sleuth. Benet i Jornet's play
Desire is a Beckettian mystery play about four unnamed characters.
Sergi Belbel represents the new generation of Catalan playwrights
and his plays have had wide appeal abroad. In Fourplay he
experiments with the idea of a sex farce and the play's 38 scenes
lead to wild conclusions.
Two plays about cultural identity from Scotland and Catalonia,
which received their English-language premieres in August 1999 at
the Royal Lyceum Theatre as part of the Edinburgh International
Festival in Traverse Theatre Company productions The Speculator is
set in Paris in 1720. The French playwright Pierre Marivaux is
playing games with love and chance. Europe is in chaos. And John
Law, a Scot from Edinburgh, is the richest and most powerful man in
the world. He upsets order and alters the value of money. How long
can his influence last? David Greig's new play is a rambunctious
costume drama that toys with history and questions whether
imagination can, or should, triumph over truth. Some events in the
play are true. The rest is speculation. The Meeting, translated by
John London, follows a string of chance encounters. A businessman
on a journey crosses paths and shares his life with those of
passing strangers. An old man is convinced there is buried treasure
in the city park. A watchmaker talks to him about time. A young man
and a traveller speak of their discontent. Shared pasts and common
desires create a web of complexity in Luisa Cunille's challenging
new play, turning random meetings into rendezvous with
destiny."David Greig is the most consistently interesting, prolific
and artistically ambitious writer of his generation" (Scotsman);
"Frequently compared to Harold Pinter...Cunille has discovered a
special style" (ABC, Madrid)
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
The Creator
John David Washington, Gemma Chan, …
DVD
R325
Discovery Miles 3 250
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|