She’s not the woman he married… Philomena Wright, Marchioness of Arlingview, is universally admired for her intellect, good sense and charitable efforts on behalf of widows and orphans. A woman with every advantage, she also has a guilty secret: in truth, she is Philomena’s twin sister, Penelope. Dreading spinsterhood, she attends a masquerade ball in the hope of finding a suitor before admitting the truth—only to encounter a gentleman who stirs her like no other… Garrett Wright misses the purpose—and the peril—of his work as a spy during the war and is bored with his disguise as a reckless rake. When he agrees to help unveil a jewel thief preying upon London society, he is beguiled by a beauty who awakens a dream—and becomes determined to unveil the truth, whatever the cost. When he finds stolen gems in her possession, Garrett fears his lady has a more dangerous secret than her identity. Forced to choose between honor and unexpected love, how will he both fulfill his duty and secure a happy future with the woman who has captured his heart forever?
Shakespeare and Complexity Theory is the first book-length examination into how complexity theory may be incorporated within Shakespeare studies. The book demonstrates how complexity theory can illuminate our understanding of Shakespeare’s texts, early modern theatrical practices (from dance to co-authorship to stagecraft), pedagogy, and Shakespeare’s canonical place in contemporary culture. In its implementation of a scientific framework, this monograph taps into an area of increasing academic and research interest: the relationship between the sciences and the humanities.
The basis for our understanding of Leonardo’s theory of art was, for over 150 years, his Treatise on Painting, which was issued in 1651 in Italian and French. This present volume offers both the first scholarly edition of the Italian editio princeps as well as the first complete English translation of this seminal work. In addition, It provides a comprehensive study of the Italian first edition, documenting how each editorial campaign that lead to it produced a different understanding of the artist’s theory. What emerges is a rich cultural and textual history that foregrounds the transmission of artisanal knowledge from Leonardo’s workshop in the Duchy of Milan to Carlo Borromeo’s Milan, Cosimo I de’ Medici’s Florence, Urban VIII’s Rome, and Louis XIV’s Paris.
American Smart Cinema examines a contemporary type of US filmmaking that exists at the intersection of mainstream, art and independent cinema and often gives rise to absurd, darkly comic and nihilistic effects.
From sweet kisses under the mistletoe to passionate encounters at holiday house parties, secret identities to second chances, find your Christmas cheer in these twelve different historical romance tales from bestselling and award-winning authors! The lord you've been looking for might be just a story away... ONCE UPON A MIDNIGHT CLEAR (**medium) - Ava Stone Only a duke will do for Lady Ivy Dallimore. If her unhappily married sisters have taught her anything, it’s that love is fleeting but a title lasts forever, which is all well and good in theory until she finds herself falling for the scandalous third son of a marquess who is bound and determined to make his fortune in trade! THE VISCOUNT’S TEMPTING MINX (*mild) - Erica Ridley He's an unbendable lord. She's an unstoppable force. When these two clash, their winter nights will never be the same! THE CHRISTMAS CONQUEST (***hot) - Claire Delacroix Love was not part of the plan when this marriage was arranged… Can a matchmaking courtesan in disguise save this match before the new year dawns? LADY, IT’S COLD OUTSIDE (*mild) - Deb Marlowe Neither Lord Ellesworth nor Miss Glenna Bolton have much Christmas spirit this year. Neither have much desire to travel during the season, either, but a Star in the East, an abandoned child and a quest for holiday cheer might just convince these two that love is the best gift of the Season. A WINTER WISH (*mild) - Nadine Millard Mariah Bolton is as headstrong as she is clever, as strong-willed as she is beautiful. She enjoys her life and, apart from a rather snobbish mama, she is happy with her lot. Imagine her consternation then when her world is turned upside down by the brooding and aloof Mr. Brandon Haverton! LYING BENEATH THE MISTLETOE (***hot) - Sadie Bosque Matilda needs a miracle. She left Henry, her first and only love, over a decade ago. Now she’s back and determined to piece his heart back together. But she only has one night to do it. A VERY MERRY VISCOUNT (*mild) - Jane Charles The thought of spending Christmas at Danby Castle with her matchmaking great-uncle fills Lady Tabitha Storm’s heart with dread, until she spies the handsome horseman from Hyde Park. Would Andrew Delaney, Viscount Straffan, receive more this holiday than he ever dreamed, or would his Irish heritage stand in his way? THE LADY’S GUIDE TO A HIGHLANDER’S HEART (***hot) - Emmanuelle de Maupassant Meet a young bride in disguise and a battle-hardened Highland warrior in this passionate 'enemies to lovers' medieval romance. MASKED LOVE (*mild) - Nicole Zoltack An evening of enchantment has a maid wishing a lord might look past his station this Christmas season. THE MISTLETOE TEMPTATION (***hot) - Eve Pendle She deliberately steps on his toes to avoid marriage and he retaliates by proposing a fake engagement. A Regency enemies to friends to lovers romance, with a touch of brother’s best friend, and a whole lot of banter and steamy scenes. A SNOWLIT CHRISTMAS KISS (**medium) - Larissa Lyons When a mischievous feline nudges two lonely souls together on a wretched, snowy night, a few Christmas kisses might be all they need. But he’s engaged, and she’s decided to never marry, so in the morning they go their separate ways, leaving pieces of their hearts behind...until a Twelfth Night Ball brings misunderstandings to light and merry tidings to one and all. A DUKE FOR MIDWINTER (*mild) - Anthea Lawson After a gentleman rescues her from a winter storm, Miss Selene Banning finds herself snowbound with Sir Jared Kendrick, who is not precisely who he claims to be… Scoop up the first collection, Twelve Lords for Christmas, for more heartwarming tales of the holidays!
This is the first book-length study of the genre of 'artist-opera', in which the work's central character is an artist who is uncomfortable with his place in the world. It investigates how three such operas (Pfitzner's Palestrina (1915), Krenek's Jonny spielt auf (1926) and Hindemith's Mathis der Maler (1935)) contributed to the debate in early twentieth-century Germany about the place of art and the artist in modern society, and examines how far the artist-character may be taken as functioning as a persona for the real composer of the work. Because of their concern with the place of art within society, the works are also engaged with inherently political questions, and each opera is read in the light of the political context of its time: conservatism circa World War I, Americanism and democracy, and the rise of National Socialism.
Leonardo da Vinci's arguments for the supremacy of painting over the arts of poetry, music, and sculpture address issues that have been relevant to debates over the nature of representation since the time Plato discussed imitation until today, maintains Claire Farago in this wide-ranging critical analysis of the first important modern contribution to the comparison of the arts. This study systematically examines 46 passages compiled in the mid-sixteenth century from eighteen of Leonardo's notebooks and their relationship to the artist's holograph writings on painting, providing a critical transcription newly made from the Codex Vaticanus Urbinas 1270 and a new English translation with extensive notes that take into account Leonardo's scientific terminology, the highly contrived form of his rhetorical argumentation, and the role played by his original editors.
William C. Taylor Department of Genetics University of California Berkeley, California 94720 It is evident by now that there is a great deal of interest in exploiting the new technologies to genetically engineer new forms of plants. A purpose of this meeting is to assess the possibilities. The papers that follow are concerned with the analysis of single genes or small gene families. We will read about genes found within the nucleus, plastids, and bacteria which are responsible for agri culturally important traits. Given that these genes can be isolated by recombinant DNA techniques, there are two possible strategies for plant engineering. One involves isolating a gene from a cultivated plant, changing it in a specific way and then inserting it back into the same plant where it produces an altered gene product. An example might be changing the amino acid composition of a seed pro tein so as to make the seed a more efficient food source. A second strategy is to isolate a gene from one species and transfer it to another species where it produces a desirable feature. An example might be the transfer of a gene which encodes a more efficient pho tosynthetic enzyme from a wild relative into a cultivated species. There are three technical hurdles which must be overcome for either strategy to work. The gene of interest must be physically isolated.
This book argues for a renewed understanding of the fundamentally uncanny quality of the medium of photography. It especially makes the case for the capacity of certain photographs—precisely through their uncanniness—to contest structures of political and social dominance. The uncanny as a quality that unsettles the perception of home emerges as a symptom of modern and contemporary society and also as an aesthetic apparatus by which some key photographs critique the hegemony of capitalist and industrialist domains. The book’s historical scope is large, beginning with William Henry Fox Talbot and closing with contemporary indigenous photographer Bear Allison and contemporary African American photographer Devin Allen. Through close readings, exegesis, of individual photographs and careful deployment of contemporary political and aesthetic theory, The Photographic Uncanny argues for a re-envisioning of the political capacity of photography to expose the haunted, homeless, condition of modernity.
Building on recent scholarship in the sociology of food, Claire Lamine uses in-depth case studies from France and Brazil to compile a critical survey of social science approaches to sustainability transitions in agri-food systems. Lamine addresses the diverse pathways of transition encountered across multiple levels, from the farm through farmers' networks and food chains, to the territorial scale of regions. She also explores the efforts made by those involved in the agricultural world to create new connections between agriculture, food, environment and health, while also taking social equity issues into account. The book adopts a comparative perspective to explore the translation of agroecology into government programmes and the specific modes of governance involved in France and Brazil - two countries that pioneer in implementing agroecology yet which differ both in visions and context. Providing new options for understanding the complex issue of agri-food transitions, this book will make an impact for those studying food systems, geography, sociology, politics and agriculture.
Martha Lackland dies in 1905. Her great-niece, Letty attends the funeral. Here she meets Luke O'Hare, an aspiring actor with plans to start a theatre for the poor of London. Letty falls under the spell of Luke and his circle of Bohemian friends. In an attempt to establish her independence from her domineering family she runs away to help Luke and his friends set up the theatre. It is also a time of great change for women as the Suffragette movement presents a radical challenge to the established order and Letty is drawn to the excitement and liberation it promises.
Becoming Confident Teachers examines the teaching role of information professionals at a time of transition and change in higher education. While instruction is now generally accepted as a core library function in the 21st century, librarians often lack sufficient training in pedagogy and instructional design; consequently finding their teaching responsibilities to be stressful and challenging. By exploring the requirements and responsibilities of the role, this book guides teaching librarians to a position where they feel confident that they have acquired the basic body of knowledge and procedures to handle any kind of instructional requests that come their way, and to be proactive in developing and promoting teaching and learning initiatives. In addition, this book suggests strategies and methods for self-development and fostering a "teacher identity, giving teaching librarians a greater sense of purpose and direction, and the ability to clearly communicate their role to non-library colleagues and within the public sphere. - Specifically examines the causes of stress among teaching librarians, zeroing in on recognisable scenarios, which are known to 'zap' confidence and increase teacher anxiety among librarians - An up-to-date and easily digestible take on the role and responsibilities of the teaching librarian - Identifies the major trends that are transforming the teaching function within professional academic librarianship
This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism.
This title was first published in 2001. This book brings together a range of perspectives about citizenship and empowerment from around the globe. It thus approaches these important topics from a wide variety of directions, including different geo-political contexts, empirical studies, theoretical approaches and examples of actual projects to empower youth and how they have worked. The book addresses issues of importance for contemporary young people as well as for social policy and will be of relevance to practitioners, youth leaders and academics.
In this book, Claire Cochrane maps the experience of theatre across the British Isles during the twentieth century through the social and economic factors which shaped it. Three topographies for 1900, 1950 and 2000 survey the complex plurality of theatre within the nation-state which at the beginning of the century was at the hub of world-wide imperial interests and after one hundred years had seen unprecedented demographic, economic and industrial change. Cochrane analyses the dominance of London theatre, but redresses the balance in favour of the hitherto marginalised majority experience in the English regions and the other component nations of the British political construct. Developments arising from demographic change are outlined, especially those relating to the rapid expansion of migrant communities representing multiple ethnicities. Presenting fresh historiographic perspectives on twentieth-century British theatre, the book breaks down the traditionally accepted binary oppositions between different sectors, showing a broader spectrum of theatre practice.
This book is a theoretical examination of the relationship between the face, identity, photography, and temporality, focusing on the temporal episteme of selfie practice. Claire Raymond investigates how the selfie’s involvement with time and self emerges from capitalist ideologies of identity and time. The book leverages theories from Katharina Pistor, Jacques Lacan, Rögnvaldur Ingthorsson, and Hans Belting to explore the ways in which the selfie imposes a dominant ideology on subjectivity by manipulating the affect of time. The selfie is understood in contrast to the self-portrait. Artists discussed include James Tylor, Shelley Niro, Ellen Carey, Graham MacIndoe, and LaToya Ruby Frazier. The book will be of interest to scholars working in visual culture, history of photography, and critical theory. It will also appeal to scholars of philosophy and, in particular, of the intersection of aesthetic theory and theories of ontology, epistemology, and temporality.
An ideal introduction to design and technology for young children, this series has been developed to support the units in the Schemes of Work at KS1 and lower KS2. It presents key information through a combination of clear text and visual images, while questions ask the reader to express their own views about the topics.
Focusing on the later work of the American photographer Francesca Woodman (1958-1981), Claire Raymond takes up the question of the disintegrative condition of the art she produced in the last year of her life. Departing from the techniques of her earlier compositions, Woodman worked in the diazotype process for many of these late pieces, most importantly the monumental Blueprint for a Temple. Raymond shows that through her use of diazotype, a medium that breaks down when exposed to light, Woodman created art that is both supremely evocative aesthetically and inherently unstable physically. Woodman, Raymond contends, was imaginatively responding to the end of the durable image, a historical reality acknowledged in the way her work plays the ephemeral and evanescent against the monumental and enduring. Raymond focuses on the theoretical and the curatorial issues surrounding Woodman's diazotypes, a thematic and practical distress that haunts much of her later art, especially the artist's book and photo series Some Disordered Interior Geometries and Portrait of a Reputation. Rather than conceiving of Woodman herself as fragile, an artist chronicling and seeming to yearn for her own disappearance, Raymond juxtaposes Woodman's career-spanning documentation of her own image against other post-war witnesses of trauma - an artist standing in the museum ruins where she emerges most distinctly as a figure of postmodernity.
Taking on the neglected issue of the short story's relationship to literary Modernism, Claire Drewery examines works by Katherine Mansfield, Dorothy Richardson, May Sinclair, and Virginia Woolf. Drewery argues that the short story as a genre is preoccupied with transgressing boundaries, and thus offers an ideal platform from which to examine the Modernist fascination with the liminal. Embodying both liberation and restriction, liminal spaces on the one hand enable challenges to traditional cultural and personal identities, while on the other hand they entail the inevitable negative consequences of occupying the position of the outsider: marginality, psychosis, and death. Mansfield, Richardson, Sinclair, and Woolf all exploit this paradox in their short fiction, which typically explores literal and psychological borderline states that are resistant to rational analysis. Thus, their short stories offered these authors an opportunity to represent the borders of unconsciousness and to articulate meaning while also conveying a sense of that which is unsayable. Through their concern with liminality, Drewery shows, these writers contribute significantly to the Modernist aesthetic that interrogates identity, the construction of the self, and the relationship between the individual and society.
Spinning is one of the most ancient of crafts With color and black and white photographs and diagrams throughout, this practical book is a comprehensive, step-by-step, guide detailing everything you need to know to start spinning as well as dyeing so that you can go on to reproduce your own wool for knitting or weaving. From selecting the wool to selecting a spinning wheel – learn it all in this guide.
A comprehensible evaluation of the subject written in an engaging manner and illustrated with running examples showing how the law works in practice. Learning features throughout the chapters and additional materials on the Online Resource Centre, including the Hot 100 Cases database, help to structure study and revision.
In Ethnic Minority Women’s Writing in France, Mouflard argues that the identity politics surrounding the immigration discourse of early twenty-first century France were reflected in the marketing and editing practices of the Metropole’s key publishers, specifically with regards to non-white French women’s literature. Echoing the utopic “Black-Blanc-Beur” model of integration which surfaced during the 1998 soccer World Cup, select publishers fashioned unofficial literary categories based on neocolonial racial and gender stereotypes, either lauding integrated “Beur” authors or exploiting “Black” political dissenters. Concurrently, metropolitan women writers in their autobiographies, autofictions, and manifestoes, problematized notions of French multiculturalism and literary hierarchies, thereby exposing the dangers of utopian thinking. Mouflard ultimately reveals that the absence of the Franco-Vietnamese identity from the “Black-Blanc-Beur” paradigm enabled authors of Southeastern Asian origin to establish themselves outside of the era’s reductive multicultural utopia, within a realm directly adjacent to littérature française, if not in a newly-designed, truly multicultural French literature category. Overall, Mouflard’s research highlights the discrepancies between France’s official discourse on immigration, and the actual identity formation processes created by the institutions and exploited by influential publishers, in the years leading to the historic 2005 banlieue civil unrest.
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