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The Theater of Night
by Alberto RíosNow in paperback, and following the success of his National Book Award nomination, Alberto Ríos’ new book is filled with magic, marvel, and emotional truth. Set along the elusive southern border, his poems trace the lives and loves of an elderly couple through their childhood and courtship to marriage, maturity, old age, and death. Like the best of storytellers, Ríos charms his readers, making us care deeply—even love—these people we read.
The Theater of Plautus: Playing to the Audience
by Timothy J. MooreThe relationship between actors and spectators has been of perennial interest to playwrights. The Roman playwright Plautus (ca. 200 BCE) was particularly adept at manipulating this relationship. Plautus allowed his actors to acknowledge freely the illusion in which they were taking part, to elicit laughter through humorous asides and monologues, and simultaneously to flatter and tease the spectators.<P><P>These metatheatrical techniques are the focus of Timothy J. Moore's innovative study of the comedies of Plautus. The first part of the book examines Plautus' techniques in detail, while the second part explores how he used them in the plays Pseudolus, Amphitruo, Curculio, Truculentus, Casina, and Captivi. Moore shows that Plautus employed these dramatic devices not only to entertain his audience but also to satirize aspects of Roman society, such as shady business practices and extravagant spending on prostitutes, and to challenge his spectators' preconceptions about such issues as marriage and slavery. These findings forge new links between Roman comedy and the social and historical context of its performance.
The Theater of Tony Kushner (Studies in Modern Drama)
by James FisherThe Theater of Tony Kushner is a comprehensive portrait of the life and work of one of America's most important contemporary playwrights.
The Theater of Truth
by William EggintonThe Theater of Truth argues that seventeenth-century baroque and twentieth-century neobaroque aesthetics have to be understood as part of the same complex. The Neobaroque, rather than being a return to the stylistic practices of a particular time and place, should be described as the continuation of a cultural strategy produced as a response to a specific problem of thought that has beset Europe and the colonial world since early modernity. This problem, in its simplest philosophical form, concerns the paradoxical relation between appearances and what they represent. Egginton explores expressions of this problem in the art and literature of the Hispanic Baroques, new and old. He shows how the strategies of these two Baroques emerged in the political and social world of the Spanish Empire, and how they continue to be deployed in the cultural politics of the present. Further, he offers a unified theory for the relation between the two Baroques and a new vocabulary for distinguishing between their ideological values.
The Theatre Couple in Early Modern Italy: Self-Fashioning and Mutual Marketing (Performing Celebrity)
by Serena LaienaWho were the first celebrity couples? How was their success forged? Which forces influenced their self-fashioning and marketing strategies? These questions are at the core of this study, which looks at the birth of a phenomenon, that of the couple in show business, with a focus on the promotional strategies devised by two professional performers: Giovan Battista Andreini (1576–1654) and Virginia Ramponi (1583–ca.1631). This book examines their artistic path – a deliberately crafted and mutually beneficial joint career – and links it to the historical, social, and cultural context of post-Tridentine Italy. Rooted in a broad research field, encompassing theatre history, Italian studies, celebrity studies, gender studies, and performance studies, The Theatre Couple in Early Modern Italy revises the conventional view of the Italian diva, investigates the deployment of Catholic devotion as a marketing tool, and argues for the importance of the couple system in the history of Commedia dell’Arte, a system that continues to shape celebrity today.
The Theatre Of Naomi Wallace
by Scott T. Cummings Erica Stevens AbbittNaomi Wallace, an American playwright based in Britain, is one of the more original and provocative voices in contemporary theatre. Her poetic, erotically-charged, and politically engaged plays have been seen in London's West End, off-Broadway, at the Com#65533;die-Fran#65533;aise, in regional and provincial theaters, and on college campuses around the world. Known for their intimate, sensual encounters examining the relationship between identity and power, Wallace's works have attracted a wide range of theatre practitioners, including such important directors as Dominic Dromgoole, Ron Daniels, Jo Bonney, and Kwame Kwei-Armah. Drawing on scholars, activists, historians, and theatre artists in the United States, Canada, Britain, and the Middle East, this anthology of essays presents a comprehensive overview of Wallace's body of work that will be of use to theatre practitioners, students, scholars, and educators alike.
The Theatre of Death: Rituals of Justice from the English Civil Wars to the Restoration (G - Reference, Information And Interdisciplinary Subjects Ser.)
by P J KlempThis book discusses some rituals of justice—such as public executions, printed responses to the Archbishop of Canterbury’s execution speech, and King Charles I’s treason trial—in early modern England. Focusing on the ways in which genres shape these events’ multiple voices, I analyze the rituals’ genres and the diverse perspectives from which we must understand them. The execution ritual, like such cultural forms as plays and films, is a collaborative production that can be understood only, and only incompletely, by being alert to the presence of its many participants and their contributions. Each of these participants brings a voice to the execution ritual, whether it is the judge and jury or the victim, executioner, sheriff and other authorities, spiritual counselors, printer, or spectators and readers. And each has at least one role to play. No matter how powerful some institutions and individuals may appear, none has a monopoly over authority and how the events take shape on and beyond the scaffold. The centerpiece of the mid-seventeenth-century’s theatre of death was the condemned man’s last dying utterance. This study focuses on the words and contexts of many of those final speeches, including King Charles I’s (1649), Archbishop William Laud’s (1645), and the Earl of Strafford’s (1641), as well as those of less well known royalists and regicides. Where we situate ourselves to view, hear, and comprehend a public execution—through specific participants’ eyes, ears, and minds or accounts—shapes our interpretation of the ritual. It is impossible to achieve a singular, carefully indoctrinated meaning of an event as complex as a state-sponsored public execution. Along with the variety of voices and meanings, the nature and purpose of the rituals of justice maintain a significant amount of consistency in a number of eras and cultural contexts. Whether the focus is on the trial and execution of the Marian martyrs, English royalists in the 1640s and 1650s, or the Restoration’s regicides, the events draw on a set of cultural expectations or conventions. Because rituals of justice are shaped by diverse voices and agendas, with the participants’ scripts and counterscripts converging and colliding, they are dramatic moments conveying profound meanings. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
The Theatre of Death: Rituals of Justice from the English Civil Wars to the Restoration (G - Reference, Information And Interdisciplinary Subjects Ser.)
by P J KlempThis book discusses some rituals of justice—such as public executions, printed responses to the Archbishop of Canterbury’s execution speech, and King Charles I’s treason trial—in early modern England. Focusing on the ways in which genres shape these events’ multiple voices, I analyze the rituals’ genres and the diverse perspectives from which we must understand them. The execution ritual, like such cultural forms as plays and films, is a collaborative production that can be understood only, and only incompletely, by being alert to the presence of its many participants and their contributions. Each of these participants brings a voice to the execution ritual, whether it is the judge and jury or the victim, executioner, sheriff and other authorities, spiritual counselors, printer, or spectators and readers. And each has at least one role to play. No matter how powerful some institutions and individuals may appear, none has a monopoly over authority and how the events take shape on and beyond the scaffold. The centerpiece of the mid-seventeenth-century’s theatre of death was the condemned man’s last dying utterance. This study focuses on the words and contexts of many of those final speeches, including King Charles I’s (1649), Archbishop William Laud’s (1645), and the Earl of Strafford’s (1641), as well as those of less well known royalists and regicides. Where we situate ourselves to view, hear, and comprehend a public execution—through specific participants’ eyes, ears, and minds or accounts—shapes our interpretation of the ritual. It is impossible to achieve a singular, carefully indoctrinated meaning of an event as complex as a state-sponsored public execution. Along with the variety of voices and meanings, the nature and purpose of the rituals of justice maintain a significant amount of consistency in a number of eras and cultural contexts. Whether the focus is on the trial and execution of the Marian martyrs, English royalists in the 1640s and 1650s, or the Restoration’s regicides, the events draw on a set of cultural expectations or conventions. Because rituals of justice are shaped by diverse voices and agendas, with the participants’ scripts and counterscripts converging and colliding, they are dramatic moments conveying profound meanings. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
The Theatre of Nuclear Science: Weapons, Power, and the Scientists Behind it All (Routledge Advances in Theatre & Performance Studies)
by Jeanne P TiehenThe Theatre of Nuclear Science theoretically explores theatrical representations of nuclear science to reconsider a science that can have consequences beyond imagination. Focusing on a series of nuclear science plays that span the twentieth and twenty-first centuries, and including performances of nuclear science in museums, film, and media, Jeanne Tiehen argues why theatre and its unique qualities can offer important perspectives on this imperative topic. This book will be of great interest to students and scholars of theatre, politics, and literature.
The Theatre of the Absurd
by Martin EsslinIn 1953, Samuel Beckett’sWaiting for Godotpremiered at a tiny avant-garde theatre in Paris; within five years, it had been translated into more than twenty languages and seen by more than a million spectators. Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition. Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable,The Theatre of the Absurdis nothing short of a classic: vital reading for anyone with an interest in the theatre.
The Theatres of Eighteenth-Century Weather: Spectacle and Climatological Reckoning in English Drama
by Denys Van RenenWhile British drama of the long eighteenth century remains largely unexamined as registering ecological fears, its visual spectacle and settings allow the audience to grasp threats to environments across the globe. In plays from 1682-1799, The Theatres of Eighteenth-Century Weather: Spectacle and Climatological Reckoning in English Drama examines how the “little world” of the theatre enables the British to conceptualize and experience how scientific and technological innovations, industrialization, imperial enterprises, and the increasing scale and reach of the British military affect the climate. In fact, the book attributes the drama of Aphra Behn, Susanna Centlivre, Joseph Addison, Nahum Tate, Richard Brinsley Sheridan, and other playwrights as pivotal to maintaining an audience’s discernment of climatological processes and variability.
The Theatrical Legacy of Thomas Middleton, 1624–2024 (Routledge Studies in Renaissance Literature and Culture)
by William David Green Anna L. Hegland Sam JermyThis volume celebrates Thomas Middleton’s legacy as a dramatist, marking the 400th anniversary of Middleton’s final and most contentious work for the public theatres, A Game at Chess (1624).The collection is divided into three sections: ‘Critical and Textual Reception’, ‘Afterlives and Legacies’, and ‘Practice and Performance’. This division reflects the book’s holistic approach to Middleton’s canon, and its emphasis on the continuing significance of Middleton’s writing to the study of early modern English drama. Each section offers an assessment of the place of Middleton’s drama in culture, criticism, and education today through a range of critical approaches.Featuring work from a range of voices (from early career, independent, and seasoned academics and practitioners), the collection will be appropriate for both specialists in early modern literature and drama who are interested in both theory and practice, and students or scholars researching Middleton’s historical significance to the study of early theatre.
The Theatrical Spectaculum: An Anthropological Theory (Palgrave Studies in Literary Anthropology)
by Tova GamlielThis book offers a new mythic perspective on the secret of the allure and survival of a current-archaic institution—the Western theatre—in an era of diverse technological media. Central to the theory is the spectaculum—a stage “world” that mirrors a monotheistic cosmic order. Tova Gamliel here not only alerts the reader to the possibility of the spectaculum’s existence, but also illuminates its various structural dimensions: the cosmological, ritual, and sociological. Its cosmo-logical meaning is a Judeo-Christian monotheistic consciousness of non-randomness, an exemplary order of the world that the senses perceive. The ritual meaning denotes the centrality of the spectaculum, as the theatre repeatedly reenacts the mythical and paradigmatic event of Biblical revelation. Its social meaning concerns any charismatic social theory that is anchored in the epitomic structure of social sovereignty—stage and audience—that the Western theatre advances in an era characterized by hypermedia.
The Thebaid: Seven against Thebes (Johns Hopkins New Translations from Antiquity)
by Publius Papinius StatiusA classical epic of fratricide and war, the Thebaid retells the legendary conflict between the sons of Oedipus—Polynices and Eteocles—for control of the city of Thebes. The Latin poet Statius reworks a familiar story from Greek myth, dramatized long before by Aeschylus in his tragedy Seven against Thebes. Statius chose his subject well: the Rome of his day, ruled by the emperor Domitian, was not too distant from the civil wars that had threatened the survival of the empire. Published in 92 A.D., the Thebaid was an immediate success, and its fame grew in succeeding centuries. It reached its peak of popularity in the later Middle Ages and Renaissance, influencing Dante, Chaucer, and perhaps Shakespeare. In recent times, however, it has received perhaps less attention than it deserves, in large part because there has been no accessible, dynamic translation of the work into English.Charles Stanley Ross offers a compelling version of the Thebaid rendered into forceful, modern English. Casting Statius's Latin hexameter into a lively iambic pentameter more natural to the modern ear, Ross frees the work from the archaic formality that has marred previous translations. His translation reinvigorates the Thebaid as a whole: its meditative first half and its violent second half; its intimate portrayal of defeat and retribution, and the need to seek justice at any cost. In a wide-ranging introduction, Ross provides an overview of the poem: its composition, reception and legacy; its major themes and literary influences; and its place in Statius' life. And in a helpful series of notes, he offers background information on the major characters and incidents.
The Theban Plays: "Oedipus the Tyrant"; "Oedipus at Colonus"; "Antigone"
by Sophocles Peter J. Ahrensdorf Thomas L. PangleThe timeless Theban tragedies of Sophocles--Oedipus the Tyrant, Oedipus at Colonus, and Antigone--have fascinated and moved audiences and readers across the ages with their haunting plots and their unforgettable heroes and heroines. Now, following the best texts faithfully, and translating the key moral, religious, and political terminology of the plays accurately and consistently, Peter J. Ahrensdorf and Thomas L. Pangle allow contemporary readers to study the most literally exact reproductions of precisely what Sophocles wrote, rendered in readily comprehensible English.These translations enable readers to engage the Theban plays of Sophocles in their full, authentic complexity, and to study with precision the plays' profound and enduring human questions. In the preface, notes to the plays, and introductions, Ahrensdorf and Pangle supply critical historical, mythic, and linguistic background information, and highlight the moral, religious, political, philosophic, and psychological questions at the heart of each of the plays. Even readers unfamiliar with Greek drama will find what they need to experience, reflect on, and enjoy these towering works of classical literature.
The Theban Plays: Oedipus the King, Oedipus at Colonus, Antigone (Johns Hopkins New Translations from Antiquity)
by SophoclesSophocles’ Theban Plays—Oedipus the King, Oedipus at Colonus, and Antigone—lie at the core of the Western literary canon. They are extensively translated, universally taught, and frequently performed. Chronicling the downfall of Oedipus, the legendary king of Thebes, and his descendants, the Theban Plays are as relevant to present-day thought about love, duty, patriotism, family, and war as when they were written 2,500 years ago.Recent translations of the plays, while linguistically correct, often fail to capture the beauty of Sophocles’ original words. In combining the skills of a distinguished poet, Ruth Fainlight, and an eminent classical scholar, Robert J. Littman, this new edition of the Theban Plays is both a major work of poetry and a faithful translation of the original works. Thoughtful introductions, extensive notes, and glossaries frame each of the plays within their historical contexts and illuminate important themes, mythological roots, and previous interpretations.This elegant and uncommonly readable translation will make these seminal Greek tragedies accessible to a new generation of readers.
The Theological Dickens (Routledge Interdisciplinary Perspectives on Literature)
by Brenda Ayres Sarah E. MaierThis is the first collection to investigate Charles Dickens on his vast and various opinions about the uses and abuses of the tenets of Christian faith that imbue English Victorian culture. Although previous studies have looked at his well-known antipathies toward Dissenters, Evangelicals, Catholics, and Jews, they have also disagreed about Dickens’ thoughts on Unitarianism and speculated on doctrines of Protestantism that he endorsed or rejected. Besides addressing his depiction of these religious groups, the volume’s contributors locate gaps in scholarship and unresolved illations about poverty and charity, representations of children, graveyards, labor, scientific controversy, and other social issues through an investigation of Dickens’ theological concerns. In addition, given that Dickens’ texts continue to influence every generation around the globe, a timely inclusion in the collection is a consideration of the neo-Victorian multi-media representations of Dickens’ work and his ideas on theological questions pitched to a postmodern society.
The Theory and Craft of Digital Preservation
by Trevor OwensA guide to managing data in the digital age.Winner of the ALCTS Outstanding Publication Award by the Association for Library Collections & Technical Services, Winner of the Waldo Gifford Leland Award by the Society of American ArchivistsMany people believe that what is on the Internet will be around forever. At the same time, warnings of an impending "digital dark age"—where records of the recent past become completely lost or inaccessible—appear with regular frequency in the popular press. It's as if we need a system to safeguard our digital records for future scholars and researchers. Digital preservation experts, however, suggest that this is an illusory dream not worth chasing. Ensuring long-term access to digital information is not that straightforward; it is a complex issue with a significant ethical dimension. It is a vocation.In The Theory and Craft of Digital Preservation, librarian Trevor Owens establishes a baseline for practice in this field. In the first section of the book, Owens synthesizes work on the history of preservation in a range of areas (archives, manuscripts, recorded sound, etc.) and sets that history in dialogue with work in new media studies, platform studies, and media archeology. In later chapters, Owens builds from this theoretical framework and maps out a more deliberate and intentional approach to digital preservation. A basic introduction to the issues and practices of digital preservation, the book is anchored in an understanding of the traditions of preservation and the nature of digital objects and media. Based on extensive reading, research, and writing on digital preservation, Owens's work will prove an invaluable reference for archivists, librarians, and museum professionals, as well as scholars and researchers in the digital humanities.
The Theory and Philosophy of History: Global Variations (Elements in Historical Theory and Practice)
by João OharaThis Element argues for a broad and inclusive understanding of the 'theory and philosophy of history', a goal that has proven elusive. Different intellectual traditions have competing, often incompatible definitions of what could or should count as proper 'theory/philosophy of history'. By expanding on the traditional versions of the 'history of the theory and philosophy of history' and including contexts from the Global South, particularly Latin America, the author hopes to offer a broader, more inclusive perspective on the theoretical reflections about history.
The Theory and Practice of Group Discussion with Quality Talk (Learning Sciences for Higher Education)
by Chao-Chen Chen Mei-Lan LoThis book explores the application of a significant discussion approach, Quality Talk, to English learning in Taiwanese college classrooms. Quality Talk has been found to successfully enhance students' reading comprehension and higher-level thinking in American contexts. It offers an introduction to Quality Talk and demonstrates how it can be implemented in college level English classes. It addresses students’ three levels of English proficiency: elementary, intermediate, and advanced. The respective chapters discuss a range of aspects: students' language proficiency levels, students' own viewpoints on the discussion approach, students' academic backgrounds, teaching materials, and culture-based learning. Readers will gain valuable insights into the Quality Talk approach and how it can be implemented in the classroom.
The Theory and Practice of History
by Leopold Von RankeThis collection of the writings of Leopold von Ranke was first published in 1973 and remains the leading collection of Ranke's writings in the English language. Now updated with the needs of current students in mind, this edition includes previously untranslated materials, as well as a new introduction by Georg G. Iggers.
The Theory and Practice of Reception Study: Reading Race and Gender in Twain, Faulkner, Ellison, and Morrison (Routledge Interdisciplinary Perspectives on Literature)
by Philip GoldsteinThis book examines novels of Faulkner and Morrison as well as Mark Twain and Ralph Ellison in order to show that their works forcefully undermine the racial and sexual divisions characterizing both the South and contemporary culture in the nineteenth and twentieth centuries. Moreover, the book discusses theories of reader-response and reception study and elaborates a theory of reception study based on the historical or "archeological" methods of Michel Foucault. As a consequence, unlike most studies of American literature, which discuss its historical contexts or prescribe its readers’ responses, this book explains the reception of these works, including the academic criticism and reviews and, because the internet exerts immense influence in the twenty-first century, the on-line responses of ordinary readers. Unlike most reception studies, this book examines the institutional contexts of the readers’ responses.
The Theory of Criticism: A Tradition and Its System
by Murray KriegerOriginally published in 1976. Representing years of critical reflection, The Theory of Criticism attempts to construct a poetics of "presence." Within a wide range of critical terminology, Murray Krieger has sought to create a new vision. In language that is passionate and often dramatic, he looks at the multidimensionality of the poetic world through the lens of Western poetics. His work clearly addresses itself to post–New Critical questions: how to preserve the literary object as a thing to be perceived, valued, and enjoyed and yet to account for its presence in, and interaction with, our culture as a whole, always in danger of being dissolved into man's language-making and -forming activity in general. Our awareness of the poem as object must be modified by our awareness that it is an "intentional" object. Krieger develops his balanced vision in three parts. Part 1 defines the problem and defends the very activity of theorizing both in its own terms and in terms of the critic's function throughout the history of Western criticism. By asking at the outset whether criticism is vain or valuable, Krieger already confronts the basic tension between system and world and the need to account for both. By creating a heuristic system that examines the possibility of form, the critic serves also the world of history and thought as a whole. Part 2 pursues that history from the classical encounter with mimesis in Greek thought to the Romantic and post-Romantic elevation of consciousness as a main criterion of poetic art. Defining a "humanistic aesthetic" as it has been viewed since Aristotle, the author shows how, during and after the eighteenth century, form was opened up under the impact of a Kantian and post-Kantian view, epitomized finally by Coleridge's imagination and its consequences for recent theorists. Part 3 deals with the image of the world struggling against its enclosure within a poetic context. It expands our view of metaphor as a reflection of the dual nature of poetic language, simultaneously locked into the poem and referring to history and nature outside. Our reading of the poem, Krieger concludes, must be double: we must see the poem as a linear and chronological sequence reflecting real life, and we must read it as a circular, imitative, mutually implicative mode.
The Theory of Descriptions
by Graham StevensThe book combines a historical and philosophical study of Russell's theory of descriptions. It defends, develops and extends the theory as a contribution to natural language semantics while also arguing for a reassessment of the important of linguistic inquiry to Russell's philosophical project.
The Theory of Language Holography
by Guanlian QianThis book presents a method of linking the ordered structure of the cosmos with human thoughts: the theory of language holography. In the view presented here, the cosmos is in harmony with the human body and language, and human thoughts are holographic with the cosmos at the level of language. In a word, the holographic relation is nothing more than the bridge by means of which Guanlian Qian connects the cosmos, human, and language. This is a vitally important contribution to linguistic and philosophical studies that cannot be ignored.The book has two main focus areas: outer language holography and inner language holography. These two areas constitute the core of the dynamic and holistic view put forward in the theory of language holography. The book’s main properties can be summarized into the following points: First and foremost, it is a book created in toto by a Chinese scholar devoted to pragmatics, theoretical linguistics, and philosophy of language. Secondly, the book was accepted by a top Chinese publisher and was republished the second year, which reflected its value and appeal. Thirdly, in terms of writing style, the book is characterized by succinctness and logic. As a result, it reads fluidly and smoothly without redundancies, which is not that common in linguistic or even philosophical works. Lastly, as stated by the author in the introduction, “Creation is the development of previous capacities, but it is also the generation of new ones”; this book can be said to put this concept into practice. Overall, the book offers a unique resource to readers around the world who want to know more about the truly original and innovative studies of language in Chinese academia.