Throughout our Cherokee history,"" writes Joyce Dugan, former principal chief of the Eastern Band of Cherokee Indians, ""our ancient stories have been the essence of who we are."" These traditional stories embody the Cherokee concepts of Gadugi, working together for the good of all, and Duyvkta, walking the right path, and teach listeners how to understand and live in the world with reverence for all living things. In Eastern Cherokee Stories, Sandra Muse Isaacs uses the concepts of Gadugi and Duyvkta to explore the Eastern Cherokee oral tradition, and to explain how storytelling in this tradition - as both an ancient and a contemporary literary form - is instrumental in the perpetuation of Cherokee identity and culture. Muse Isaacs worked among the Eastern Cherokees of North Carolina, recording stories and documenting storytelling practices and examining the Eastern Cherokee oral tradition as both an ancient and contemporary literary form. For the descendants of those Cherokees who evaded forced removal by the U.S. government in the 1830s, storytelling has been a vital tool of survival and resistance - and as Muse Isaacs shows us, this remains true today, as storytelling plays a powerful role in motivating and educating tribal members and others about contemporary issues such as land reclamation, cultural regeneration, and language revitalization. The stories collected and analyzed in this volume range from tales of creation and origins that tell about the natural world around the homeland, to post-Removal stories that often employ Native humor to present the Cherokee side of history to Cherokee and non-Cherokee alike. The persistence of this living oral tradition as a means to promote nationhood and tribal sovereignty, to revitalize culture and language, and to present the Indigenous view of history and the land bears testimony to the tenacity and resilience of the Cherokee people, the Ani-Giduwah.

Berthe Morisot: Shaping Impressionism is the first major UK exhibition of the renowned Impressionist since 1950. In partnership with the Musée Marmottan Monet, Paris, it will bring together around 30 of Morisot’s most important works from international collections, many never seen before in the UK, to reveal the artist as a trailblazer of the movement as well as uncovering a previously untold connection between her work and 18th century culture, with around 20 works for comparison. A founding member of the Impressionist group, Berthe Morisot (1841-1895) was known for her swiftly painted glimpses of contemporary life and intimate domestic scenes. She featured prominently in the Impressionist exhibitions and defied social norms to become one of the movement’s most influential figures. Berthe Morisot: Shaping Impressionism will draw on new research and previously unpublished archival material from the Musée Marmottan Monet to trace the roots of her inspiration, revealing the ways in which Morisot engaged with 18th century art and culture, while also highlighting the originality of her artistic vision, which ultimately set her apart from her predecessors. Highlights will include Eugène Manet on the Isle of Wight (1875), painted while Morisot was on honeymoon in England, and her striking Self-Portrait (1885), which will appear alongside Jean-Honoré Fragonard’s Young Woman (c.1769) from Dulwich Picture Gallery’s collection. Apollo revealing his divinity to the shepherdess Issé, after François Boucher (1892), In the Apple Tree (1890) and Julie Manet with her Greyhound Laerte (1893), are among nine paintings on loan from the Musée Marmottan Monet, many receiving their first ever showing in the UK.

In the first book-length study of Annie Baker, one of the most critically acclaimed playwrights in the United States today and winner of the 2014 Pulitzer Prize, a Guggenheim Fellowship, and a MacArthur “genius” grant, Amy Muse analyzes Baker’s plays and other work. These include The Flick, John, The Antipodes, the Shirley Vermont plays, and her adaptation of Uncle Vanya. Muse illuminates their intellectual and ethical themes and issues by contextualizing them with the other works of theatre, art, theology, and psychology that Baker read while writing them. Through close discussions of Baker’s work, this book immerses readers in her use of everyday language, her themes of loneliness, desire, empathy, and storytelling, and her innovations with stage time. Enriched by a foreword from Baker’s former professor, playwright Mac Wellman, as well as essays by four scholars, Thomas Butler, Jeanmarie Higgins, Katherine Weiss, and Harrison Schmidt, this is a companionable guide for students of American literature and theatre studies, which deepens their knowledge and appreciation of Baker’s dramatic invention. Muse argues that Baker is finely attuned to the language of the everyday: imperfect, halting, marked with unexpressed desires, banalities, and silence. Called “antitheatrical,” these plays draw us back to the essence of theatre: space, time, and story, sitting with others in real time, witnessing the dramatic in the ordinary lives of ordinary people. Baker’s revolution for the stage has been to slow it down and bring us all into the mystery and pleasure of attention.

Reprint of the Boston 1985. 218pp. Charles A. Muses (1919-2000), a figure who wrote articles and books under various pseudonyms (including Mus s, Musaios, Kyril Demys, Arthur Fontaine, Kenneth Demarest and Carl von Balmadis), was the founder of the Lion Path, a shamanistic movement. He held unusual and controversial views relating to mathematics, physics, philosophy, and many other fields.Muses eventually proposed an astrological method called 'chronotopology, ' which he claimed could measure the qualitative multidimensional structure of time.