What did publicity look like before the eighteenth century? What were its uses and effects, and around whom was it organized? The essays in this collection ask these questions of early modern London. Together, they argue that commercial theater was a vital engine in celebrity's production. The men and women associated with playing-not just actors and authors, but playgoers, characters, and the extraordinary local figures adjunct to playhouse productions-introduced new ways of thinking about the function and meaning of fame in the period; about the networks of communication through which it spread; and about theatrical publics. Drawing on the insights of Habermasean public sphere theory and on the interdisciplinary field of celebrity studies, Publicity and the Early Modern Stage introduces a new and comprehensive look at early modern theories and experiences of publicity.

Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this "return of the real" has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back. Central as they are to science and art, these representational concerns have been perceived as different in kind and as objects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representation in both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from "high art", but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics. "Beyond Mimesis and Convention: Representation in Art and Science" is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at a place wherein the perhaps-surprising collaboration between philosophy of science and art history has become not only salubrious, but a matter of necessity.

This Norton Critical Edition includes: Newly edited texts of the 1604 (A-Text) and the 1616 (B-Text) versions of the play. Editorial matter by David Scott Kastan and Matthew Hunter. Sources and background materials related to Christopher Marlowe, the composition and publication of Doctor Faustus, early performance of the play, the Faust legend, and Renaissance magic, including a new selection from James I and IV’s Of Daemonologie. Eighteen critical essays: five classic assessments and—new to the Second Edition—thirteen recent interpretations. A chronology and an updated selected bibliography.

While the ending of the Golden Fleece myth, Medea's killing of her beloved children, is well known, her story and her reasoning are not. She can be understood through her deeds and words, though she may not be forgiven for her act. Jason, the hero of the Argo who wrested the Golden Fleece from a tyrant at the end of world, in this work is revealed as a man with flaws. Jason and Medea fully explores the ancient Greek tragedy, following the story line and philosophical trails. The gaps in the ancient telling are filled with imaginative invention without the aid of supernatural forces. Every baby boomer has seen the 60's movie Jason and the Argonauts with the animated harpies, skeleton warriors and bronze giant. Few know the details of the complete adventure. The telling of this tale relies upon the visualization prowess of the modern reader to examine the human condition. This tale has something more than mere adventure to hold the reader's attention. Great events propel the action. Men commit murder, steal, embark on paths of war, and whisper deceits. A woman acts both selflessly for love and sacrifices everything for it. love may be too. The voices of women articulate great sentiments and truths. Memory and loyalty are exposed as weak foundations for trust. At the beginning and then finally, the gods, the Fates and human responsibility all take center stage in Jason and Medea.

Please note this book is suitable for any student studying: Exam board: Edexcel Level: GCSE (9-1) Subject: Physical Education First teaching: 2016 First exams: 2018 Edexcel GCSE PE has been written to completely match Edexcel's new GCSE PE specification. It contains everything students need to succeed, presented visually to ensure that it is accessible to all.

What did publicity look like before the eighteenth century? What were its uses and effects, and around whom was it organized? The essays in this collection ask these questions of early modern London. Together, they argue that commercial theater was a vital engine in celebrity's production. The men and women associated with playing-not just actors and authors, but playgoers, characters, and the extraordinary local figures adjunct to playhouse productions-introduced new ways of thinking about the function and meaning of fame in the period; about the networks of communication through which it spread; and about theatrical publics. Drawing on the insights of Habermasean public sphere theory and on the interdisciplinary field of celebrity studies, Publicity and the Early Modern Stage introduces a new and comprehensive look at early modern theories and experiences of publicity.

Representation is a concern crucial to the sciences and the arts alike. Scientists devote substantial time to devising and exploring representations of all kinds. From photographs and computer-generated images to diagrams, charts, and graphs; from scale models to abstract theories, representations are ubiquitous in, and central to, science. Likewise, after spending much of the twentieth century in proverbial exile as abstraction and Formalist aesthetics reigned supreme, representation has returned with a vengeance to contemporary visual art. Representational photography, video and ever-evolving forms of new media now figure prominently in the globalized art world, while this "return of the real" has re-energized problems of representation in the traditional media of painting and sculpture. If it ever really left, representation in the arts is certainly back. Central as they are to science and art, these representational concerns have been perceived as different in kind and as objects of separate intellectual traditions. Scientific modeling and theorizing have been topics of heated debate in twentieth century philosophy of science in the analytic tradition, while representation of the real and ideal has never moved far from the core humanist concerns of historians of Western art. Yet, both of these traditions have recently arrived at a similar impasse. Thinking about representation has polarized into oppositions between mimesis and convention. Advocates of mimesis understand some notion of mimicry (or similarity, resemblance or imitation) as the core of representation: something represents something else if, and only if, the former mimics the latter in some relevant way. Such mimetic views stand in stark contrast to conventionalist accounts of representation, which see voluntary and arbitrary stipulation as the core of representation. Occasional exceptions only serve to prove the rule that mimesis and convention govern current thinking about representation in both analytic philosophy of science and studies of visual art. This conjunction can hardly be dismissed as a matter of mere coincidence. In fact, researchers in philosophy of science and the history of art have increasingly found themselves trespassing into the domain of the other community, pilfering ideas and approaches to representation. Cognizant of the limitations of the accounts of representation available within the field, philosophers of science have begun to look outward toward the rich traditions of thinking about representation in the visual and literary arts. Simultaneously, scholars in art history and affiliated fields like visual studies have come to see images generated in scientific contexts as not merely interesting illustrations derived from "high art", but as sophisticated visualization techniques that dynamically challenge our received conceptions of representation and aesthetics. "Beyond Mimesis and Convention: Representation in Art and Science" is motivated by the conviction that we students of the sciences and arts are best served by confronting our mutual impasse and by recognizing the shared concerns that have necessitated our covert acts of kleptomania. Drawing leading contributors from the philosophy of science, the philosophy of literature, art history and visual studies, our volume takes its brief from our title. That is, these essays aim to put the evidence of science and of art to work in thinking about representation by offering third (or fourth, or fifth) ways beyond mimesis and convention. In so doing, our contributors explore a range of topics-fictionalism, exemplification, neuroaesthetics, approximate truth-that build upon and depart from ongoing conversations in philosophy of science and studies of visual art in ways that will be of interest to both interpretive communities. To put these contributions into context, the remainder of this introduction aims to survey how our communities have discretely arrived at a place wherein the perhaps-surprising collaboration between philosophy of science and art history has become not only salubrious, but a matter of necessity.

Please note this title is suitable for any student studying: Exam Board: OCR Level/Subject: AS and A Level Physical Education First teaching: September 2016 First exams: June 2018 The Student Book is endorsed by OCR OCR GCSE Physical Education is a user-friendly new Student Book written to precisely match OCR's GCSE (9-1) Physical Education specification. It is accessible, accurate, reliable and engaging, and will support teachers and give students the best chance of success. Written by an experienced teacher, OCR GCSE Physical Education confidently delivers the required theory to the right depth and provides guidance outlining what is required for the performance component of the course. "Undoubtedly a must have in all PE classrooms; concise information, clear images and helpful boxes support teachers and students alike. It should be used as a clear reference point for knowledge depth and be well thumbed through by students who wish to support their in class learning." - Jason Rhodes, PE Advisor, Education Durham

The Pursuit of Style in Early Modern Drama examines how early modern plays celebrated the power of different styles of talk to create dynamic forms of public address. Across the sixteenth and seventeenth centuries, London expanded into an uncomfortably public city where everyone was a stranger to everyone else. The relentless anonymity of urban life spurred dreams of its opposite: of being a somebody rather than a nobody, of being the object of public attention rather than its subject. Drama gave life to this fantasy. Presented by strangers and to strangers, early modern plays codified different styles of talk as different forms of public sociability. Then, as now, to speak of style was to speak of a fantasy of public address. Offering fresh insight for scholars of literature and drama, Matthew Hunter reveals how this fantasy - which still holds us in its thrall - played out on the early modern stage.

While the ending of the Golden Fleece myth, Medea's killing of her beloved children, is well known, her story and her reasoning are not. She can be understood through her deeds and words, though she may not be forgiven for her act. Jason, the hero of the Argo who wrested the Golden Fleece from a tyrant at the end of world, in this work is revealed as a man with flaws. Jason and Medea fully explores the ancient Greek tragedy, following the story line and philosophical trails. The gaps in the ancient telling are filled with imaginative invention without the aid of supernatural forces. Every baby boomer has seen the 60's movie Jason and the Argonauts with the animated harpies, skeleton warriors and bronze giant. Few know the details of the complete adventure. The telling of this tale relies upon the visualization prowess of the modern reader to examine the human condition. This tale has something more than mere adventure to hold the reader's attention. Great events propel the action. Men commit murder, steal, embark on paths of war, and whisper deceits. A woman acts both selflessly for love and sacrifices everything for it. love may be too. The voices of women articulate great sentiments and truths. Memory and loyalty are exposed as weak foundations for trust. At the beginning and then finally, the gods, the Fates and human responsibility all take center stage in Jason and Medea.