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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.
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.
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
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.
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.
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 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.
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.
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.
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