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The early modern period inherited a deeply-ingrained culture of
Christian remembrance that proved a platform for creativity in a
remarkable variety of forms. From the literature of church ritual
to the construction of monuments; from portraiture to the
arrangement of domestic interiors; from the development of textual
rites to drama of the contemporary stage, the early modern world
practiced 'arts of remembrance' at every turn. The turmoils of the
Reformation and its aftermath transformed the habits of creating
through remembrance. Ritually observed and radically reinvented,
remembrance was a focal point of the early modern cultural
imagination for an age when beliefs both crossed and divided
communities of the faithful. The Arts of Remembrance in Early
Modern England maps the new terrain of remembrance in the
post-Reformation period, charting its negotiations with the
material, the textual and the performative.
Considering major works by Kyd, Shakespeare, Middleton and Webster
among others, this book transforms current understanding of early
modern revenge tragedy. Examing the genre in light of historical
revisions to England's Reformations, and with appropriate regard to
the social history of the dead, it shows revenge tragedy is not an
anti-Catholic and Reformist genre, but one rooted in, and in
dialogue with, traditional Catholic culture. Arguing its tragedies
are bound to the age's funerary performances, it provides a new
view of the contemporary theatre and especially its role in the
religious upheavals of the period.
The early modern period inherited a deeply-ingrained culture of
Christian remembrance that proved a platform for creativity in a
remarkable variety of forms. From the literature of church ritual
to the construction of monuments; from portraiture to the
arrangement of domestic interiors; from the development of textual
rites to drama of the contemporary stage, the early modern world
practiced 'arts of remembrance' at every turn. The turmoils of the
Reformation and its aftermath transformed the habits of creating
through remembrance. Ritually observed and radically reinvented,
remembrance was a focal point of the early modern cultural
imagination for an age when beliefs both crossed and divided
communities of the faithful. The Arts of Remembrance in Early
Modern England maps the new terrain of remembrance in the
post-Reformation period, charting its negotiations with the
material, the textual and the performative.
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Intelligent Virtual Agents - 5th International Working Conference, IVA 2005, Kos, Greece, September 12-14, 2005, Proceedings (Paperback, 2005 ed.)
Themis Panayiotopoulos, Jonathan Gratch, Ruth Aylett, Daniel Ballin, Patrick Olivier, …
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R1,804
Discovery Miles 18 040
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Ships in 10 - 15 working days
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The origin of the Intelligent Virtual Agents conference dates from
a successful workshop on Intelligent Virtual Environments held in
Brighton at the 13th European Conference on Artificial Intelligence
(ECAI'98). This workshop was followed by a second one held in
Salford in Manchester in 1999. Subsequent events took place in
Madrid, Spain in 2001 and Irsee, Germany in 2003 and attracted
participants from both sides of the Atlantic as well as Asia. th
This volume contains the proceedings of the 5 International Working
Conference on Intelligent Virtual Agents, IVA 2005, held on Kos
Island, Greece, September 12-14, 2005, which highlighted once again
the importance and vigor of the research field. A half-day workshop
under the title "Socially Competent IVA's: We are not alone in this
(virtual) world!" also took place as part of this event. IVA 2005
received 69 submissions from Europe, North and South America,
Africa and Asia. The papers published here are the 26 full papers
and 14 short papers presented at the conference, as well as
one-page descriptions of the 15 posters and the descriptions of the
featured invited talks by Prof. Justine Cassell, of Northwestern
University and Prof. Kerstin Dautenhahn, of the University of
Hertfordshire. We would like to thank a number of people that have
contributed to the success of this conference. First of all, we
thank the authors for their high-quality work and their willingness
to share their ideas.
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Intelligent Virtual Agents - 4th International Workshop, IVA 2003, Kloster Irsee, Germany, September 15-17, 2003, Proceedings (Paperback, 2003 ed.)
Thomas Rist, Ruth Aylett, Daniel Ballin, Jeff Rickel
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R1,715
Discovery Miles 17 150
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Ships in 10 - 15 working days
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This volume, containing the proceedings of IVA 2003, held at
Kloster Irsee, in Germany, September 15-17, 2003, is testimony to
the growing importance of IntelligentVirtualAgents(IVAs)
asaresearch?eld.Wereceived67submissions, nearly twice as many as
for IVA 2001, not only from European countries, but from China,
Japan, and Korea, and both North and South America. As IVA research
develops, a growing number of application areas and pl- forms are
also being researched. Interface agents are used as part of larger
- plications, often on the Web. Education applications draw on
virtual actors and virtual drama, while the advent of 3D mobile
computing and the convergence of telephones and PDAs produce
geographically-aware guides and mobile - tertainment applications.
A theme that will be apparent in a number of the papers in this
volume is the impact of embodiment on IVA research - a char-
teristic di?erentiating it to some extent from the larger ?eld of
software agents.
The Spanish Tragedy was the first 'revenge tragedy' on the English
Renaissance stage: but for its influence, major dramas including
The Revenger's Tragedy, The Duchess of Malfi and even Hamlet would
not exist as they do. It is thus a key text for the study of
Renaissance drama and normally appears in introductory
undergraduate courses on Renaissance drama and Shakespeare. Despite
its initial smash-hit status, after the closing of the theatres in
1642 the play was only once performed in Britain before its gradual
revival in the 20th century. Following its first professional
performance in 1973, the play has come to be recognised as a
Renaissance classic, receiving frequent performance. This volume
will bring together its most insightful and influential modern
scholars to produce an edition read both by experts in the field
and lovers of Thomas Kyd's drama.
The Spanish Tragedy was the first 'revenge tragedy' on the English
Renaissance stage: but for its influence, major dramas including
The Revenger's Tragedy, The Duchess of Malfi and even Hamlet would
not exist as they do. It is thus a key text for the study of
Renaissance drama and normally appears in introductory
undergraduate courses on Renaissance drama and Shakespeare. Despite
its initial smash-hit status, after the closing of the theatres in
1642 the play was only once performed in Britain before its gradual
revival in the 20th century. Following its first professional
performance in 1973, the play has come to be recognised as a
Renaissance classic, receiving frequent performance. This volume
will bring together its most insightful and influential modern
scholars to produce an edition read both by experts in the field
and lovers of Thomas Kyd's drama.
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