This book contains unique information about Bertolt Brecht and East Asian theatre. It focuses in particular on China and offers first and detailed accounts of important Brecht productions from those directly involved. Hence it grants remarkable insight into the problems of modern Chinese theatre and its relationship to Western theatre and into possible future developments. The book also throws light on Brecht's work and suggests ways of 're-producing' Brecht in the West. It consists of papers presented at a Hong Kong conference by distinguished Western critics (John Willett, Klaus Volker) and prominent practitioners of the theatre in China - directors (Huang Zuolin, Chen Yong), stage designers, translators and scholars. There are also accounts of Brecht productions in Japan and India, which form a stimulating contrast with the Chinese experience. With a wealth of practical examples, the book enables us to appreciate how theatre develops within different social structures. Presenting examples of cultural affinity and cultural disjunction, it also makes a useful contribution to intercultural study.
Since its first publication in 2000, Baptism and the Baptists has become the definitive work on the subject. It examines the theology and practice of believers' baptism among twentieth-century Baptists associated with the Baptist Union of Great Britain, and identifies the major influences which have led to its development. In the nineteenth and early twentieth century, the majority of Baptists concentrated predominantly on the mode and subjects of baptism (immersion and believers), understanding the rite merely as an ordinance--the believer's personal profession of faith in Christ. However, in continuity with a tradition of Baptists going back as far as the first Baptists in the second and third decades of the seventeenth century, there were also a significant number of ministers and scholars who saw the inadequacy of this view of baptism both biblically and theologically. This sacramental view developed and grew throughout the twentieth century, and influenced a resurgence of baptismal sacramentalism in the early twenty-first century among Baptists not just in Britain, but also in North America, Europe, and further afield.
In his long and fascinating life, black activist and intellectual Max Yergan (1892-1975) traveled on more ground—both literally and figuratively—than any of his impressive contemporaries, which included Adam Clayton Powell, Paul Robeson, W.E.B. Du Bois, and A. Phillip Randolph. Yergan rose through the ranks of the "colored" work department of the YMCA, and was among the first black YMCA missionaries in South Africa. His exposure to the brutality of colonial white rule in South Africa caused him to veer away from mainstream, liberal civil rights organizations, and, by the mid-1930s, into the orbit of the Communist Party. A mere decade later, Cold War hysteria and intimidation pushed Yergan away from progressive politics and increasingly toward conservatism. In his later years he even became an apologist for apartheid. Drawing on personal interviews and extensive archival research, David H. Anthony has written much more than a biography of this enigmatic leader. In following the winding road of Yergan’s life, Anthony offers a tour through the complex and interrelated political and institutional movements that have shaped the history of the black world from the United States to South Africa.
The eighteenth-century Hongloumeng, known in English as Dream of the Red Chamber or The Story of the Stone, is generally considered to be the greatest of Chinese novels--one that masterfully blends realism and romance, psychological motivation and fate, daily life and mythical occurrences, as it narrates the decline of a powerful Chinese family. In this path-breaking study, Anthony Yu goes beyond the customary view of Hongloumeng as a vivid reflection of late imperial Chinese culture by examining the novel as a story about fictive representation. Through a maze of literary devices, the novel challenges the authority of history as well as referential biases in reading. At the heart of Hongloumeng, Yu argues, is the narration of desire. Desire appears in this tale as the defining trait and problem of human beings and at the same time shapes the novel's literary invention and effect. According to Yu, this focalizing treatment of desire may well be Hongloumeng's most distinctive accomplishment. Through close readings of selected episodes, Yu analyzes principal motifs of the narrative, such as dream, mirror, literature, religious enlightenment, and rhetorical reflexivity in relation to fictive representation. He contextualizes his discussions with a comprehensive genealogy of qing--desire, disposition, sentiment, feeling--a concept of fundamental importance in historical Chinese culture, and shows how the text ingeniously exploits its multiple meanings. Spanning a wide range of comparative literary sources, Yu creates a new conceptual framework in which to reevaluate this masterpiece.
China’s emergence as a global economic superpower, and as a major regional military power in Asia and the Pacific, has had a major impact on its relations with the United States and its neighbors. China was the driving factor in the new strategy the United States announced in 2012 that called for a “rebalance” of U.S. forces to the Asia-Pacific region. At the same time, China’s actions on its borders, in the East China Sea, and in the South China Sea have shown that it is steadily expanding its geopolitical role in the Pacific and having a steadily increasing impact on the strategy and military developments in other Asian powers.
W. Anthony Sheppard considers a wide-ranging constellation of important musical works in this fascinating exploration of ritualized performance in twentieth-century music. Revealing Masks uncovers the range of political, didactic, and aesthetic intents that inspired the creators of modernist music theater. Sheppard is especially interested in the use of the "exotic" in techniques of masking and stylization, identifying Japanese Noh, medieval Christian drama, and ancient Greek theater as the most prominent exotic models for the creation of "total theater." Drawing on an extraordinarily diverse—and in some instances, little-known—range of music theater pieces, Sheppard cites the work of Igor Stravinsky, Benjamin Britten, Arthur Honegger, Peter Maxwell Davies, Harry Partch, and Leonard Bernstein, as well as Andrew Lloyd Webber and Madonna. Artists in literature, theater, and dance—such as William Butler Yeats, Paul Claudel, Bertolt Brecht, Isadora Duncan, Ida Rubenstein, and Edward Gordon Craig--also play a significant role in this study. Sheppard poses challenging questions that will interest readers beyond those in the field of music scholarship. For example, what is the effect on the audience and the performers of depersonalizing ritual elements? Does borrowing from foreign cultures inevitably amount to a kind of predatory appropriation? Revealing Masks shows that compositional concerns and cultural themes manifested in music theater are central to the history of twentieth-century Euro-American music, drama, and dance.
This book presents Brecht’s thought in the context of a revolutionary Marxist aesthetic and explores his vision of consciousness as it relates to historical materialism, the dialectic of enlightenment, social ontology, epistemology and ethics.
The subject of baptism continues to be of considerable interest--though it frequently appears within broader studies of sacraments, liturgy, worship, and ecumenical studies, and within confessional bounds: credobaptist or paedobaptist--yet it is rarely discussed by Evangelicals. This book, however, is neither an apologetic for credobaptism nor paedobaptism; rather Cross believes that, as practiced today, both forms are a departure from New Testament baptism, which, he maintains, was an integral part of becoming a Christian and part of the proclaimed gospel. He argues that the "one baptism" of Ephesians 4:5 is conversion-baptism and that the baptism referred to in the various New Testament strata refers to this "one baptism" (of Spirit and water). The study sets out the case for this interpretation and contends that in key passages "baptism" is an example of synecdoche. The case is then made for a sacramental interpretation of baptism from a thoroughgoing Evangelical perspective. Cross concludes with reflections on the necessity of baptismal reform and the relevance of a return to conversion-baptism for the contemporary church in a post-Christian, post-Christendom, mission setting.
This report tracks and analyzes trends in Chinese military strategy, force structure, and regional activity. Open source material is used to detail how each branch of the People’s Liberation Army has pursued modernization. Chinese perspectives on their military’s role and development are featured, as well as the views of other relevant regional actors. The purpose of this report is to provide the basis for an unclassified dialogue on the military developments in China. By presenting data on the regional military balance alongside perspectives on China’s military development, the Burke Chair hopes that readers can better understand how China’s strategic goals, military development, and regional views interact with each other.
The drama of Edward Bulwer, Tom Robertson, W. S. Gilbert, W. A. Jones, Arthur Pinero, Oscar Wilde and Bernard Shaw, examined in social and political context. This book will be of interest to students and scholars of theatre history, English literature and social history, and women's studies.
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