Realism in theatre is traditionally defined as a mere seed of modernism, a crude attempt to reproduce an exact copy of reality on stage. Art, Vision & Nineteenth-Century Realist Drama redefines realism as a complex and under-examined form of visual modernism, one that positioned theatre at the crux of the encounter between consciousness and the visible world. Tracing a historical continuum of "acts of seeing" on the realist stage, Holzapfel demonstrates how theatre participated in modernity’s aggressive interrogation of vision’s residence in the human body. New findings by scientists and philosophers—such as Diderot, Goethe, Müller, Helmholtz, and Galton—exposed how the visible world is experienced and framed by the unstable relativism of the physiological body rather than the fixed idealism of the mind. Realist artists across media paradoxically embraced this paradigm shift by focusing on the embodied observer. Drawing from extensive archival research, Holzapfel conducts close readings of iconic dramas and their productions—including Scribe’s The Glass of Water, Zola’s Thérèse Raquin, Ibsen’s A Doll House, Strindberg’s The Father, and Hauptmann’s Before Sunrise—alongside analyses of artwork by major painters and photographers—such as Chardin, Nadar, Millais, Rejlander, and Liebermann. In a radical challenge to existing criticism, Holzapfel argues that realism in theatre was never the attempt to reproduce an exact copy of the seen world but rather the struggle to make visible the act of seeing.
Realism in theatre is traditionally defined as a mere seed of modernism, a crude attempt to reproduce an exact copy of reality on stage. Art, Vision & Nineteenth-Century Realist Drama redefines realism as a complex and under-examined form of visual modernism, one that positioned theatre at the crux of the encounter between consciousness and the visible world. Tracing a historical continuum of "acts of seeing" on the realist stage, Holzapfel demonstrates how theatre participated in modernity’s aggressive interrogation of vision’s residence in the human body. New findings by scientists and philosophers—such as Diderot, Goethe, Müller, Helmholtz, and Galton—exposed how the visible world is experienced and framed by the unstable relativism of the physiological body rather than the fixed idealism of the mind. Realist artists across media paradoxically embraced this paradigm shift by focusing on the embodied observer. Drawing from extensive archival research, Holzapfel conducts close readings of iconic dramas and their productions—including Scribe’s The Glass of Water, Zola’s Thérèse Raquin, Ibsen’s A Doll House, Strindberg’s The Father, and Hauptmann’s Before Sunrise—alongside analyses of artwork by major painters and photographers—such as Chardin, Nadar, Millais, Rejlander, and Liebermann. In a radical challenge to existing criticism, Holzapfel argues that realism in theatre was never the attempt to reproduce an exact copy of the seen world but rather the struggle to make visible the act of seeing.
“Why do they do it?” is a question often asked about people who choose to live a polygamous lifestyle. This book aims to answer that very question. Driven by the theories of Kenneth Burke, Janja Lalich, George Cheney, Max Weber, and others, this six-year study explores organizational identification and unobtrusive control and compliance as it intersects with rhetoric, organizations, and religion. To explore the overarching question of why people choose to live this lifestyle, 14 current and 14 former polygamists volunteered to participate in in-depth interviews. Current members affirm their freedom of choice and say they would never live any other way. Former members state they were victims of brainwashing and organizational control. Both sides are represented equally, and both perspectives are given full treatment. In addition to in-depth interviews, written organizational documents were collected and analyzed using Extended Metaphor Analysis, Aristotelian Analysis, and Burkean Identification Strategies. Why They Believe investigates the question of “why they do it” in a depth never before explored. This book is a must-read for anyone interested in the reasons polygamists choose to live this alternative lifestyle.
Offers both a personal and a research-based testimonial of the problem of global warming, as an ecologist, her daughters, and their neighbors observe the changing weather and landscape of their small, New England town.
While much of the global warming conversation rightly focuses on reducing our carbon footprint, the reality is that even if we were to immediately cease emissions, we would still face climate change into the next millennium. In Finding Higher Ground, Amy Seidl takes the uniquely positive—yet realistic—position that humans and animals can adapt and persist despite these changes. Drawing on an emerging body of scientific research, Seidl brings us stories of adaptation from the natural world and from human communities. She offers examples of how plants, insects, birds, and mammals are already adapting both behaviorally and genetically. While some species will be unable to adapt to new conditions quickly enough to survive, Seidl argues that those that do can show us how to increase our own capacity for resilience if we work to change our collective behavior. In looking at climate change as an opportunity to establish new cultural norms, Seidl inspires readers to move beyond loss and offers a refreshing call to evolve.
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