Like the artists studied here, we pick and choose our Shakespeares, and through that labor another story emerges. Frozen in time on the page or screen, some of those collaborations continue to speak, but denuded of their immediate moment and surroundings; we are left to supplement the traces. In recovering that past, the present takes on greater clarity and contrast. But the proof must be in the telling. A writer lifts a pen. Enter the multiple forces—political and economic, psychological, formal, and technical—that serendipitously transform imagination into memory. Let the collaborative play begin."—from the IntroductionFocusing on key writers, actors, theater directors, and filmmakers who have kept Shakespeare at the center of their endeavors over the past two hundred years, Collaborations with the Past illuminates not only the playwright's work but also the choices and responsibilities involved in re-creating culture, and the ingenuity and peril of the artistic process. By concentrating on rich yet problematic instances of Shakespeare's reanimation in such quintessentially modern forms as the novel and film, from Sir Walter Scott's Kenilworth to Kenneth Branagh's Henry V, Diana E. Henderson sketches a complex history of the pleasures and difficulties that ensue when Shakespeare and modern artists collaborate.Working with texts across the entire range of Shakespeare's career, Henderson demonstrates—through detailed analyses of novels including Jane Eyre and Mrs. Dalloway as well as filmed, televised, and staged performances—that art (even in the newest media) cannot avoid collaborating with the past. Only by studying that collaborative process can we comprehend Shakespeare and Anglo-American culture.
Teachers in higher education have had to become more professional in their approach to teaching, matching their professionalism in research. The first edition of this book prepares teachers to do and undergo quality audits and appraisals, and to achieve their personal aims of improving their teaching and their students' learning. The strength of this book is that it provides a sound theoretical basis for designing and using learning technologies in university teaching. This new edition builds upon the success of the first and contains major updates to the information on learning technologies and includes the implications of using technology for the university context - both campus and electronic - which suggests a new approach to managing learning at institutional level.
Teaching is changing. It is no longer simply about passing on knowledge to the next generation. Teachers in the twenty-first century, in all educational sectors, have to cope with an ever-changing cultural and technological environment. Teaching is now a design science. Like other design professionals – architects, engineers, programmers – teachers have to work out creative and evidence-based ways of improving what they do. Yet teaching is not treated as a design profession. Every day, teachers design and test new ways of teaching, using learning technology to help their students. Sadly, their discoveries often remain local. By representing and communicating their best ideas as structured pedagogical patterns, teachers could develop this vital professional knowledge collectively. Teacher professional development has not embedded in the teacher’s everyday role the idea that they could discover something worth communicating to other teachers, or build on each others’ ideas. Could the culture change? From this unique perspective on the nature of teaching, Diana Laurillard argues that a twenty-first century education system needs teachers who work collaboratively to design effective and innovative teaching.
Like the artists studied here, we pick and choose our Shakespeares, and through that labor another story emerges. Frozen in time on the page or screen, some of those collaborations continue to speak, but denuded of their immediate moment and surroundings; we are left to supplement the traces. In recovering that past, the present takes on greater clarity and contrast. But the proof must be in the telling. A writer lifts a pen. Enter the multiple forces—political and economic, psychological, formal, and technical—that serendipitously transform imagination into memory. Let the collaborative play begin."—from the IntroductionFocusing on key writers, actors, theater directors, and filmmakers who have kept Shakespeare at the center of their endeavors over the past two hundred years, Collaborations with the Past illuminates not only the playwright's work but also the choices and responsibilities involved in re-creating culture, and the ingenuity and peril of the artistic process. By concentrating on rich yet problematic instances of Shakespeare's reanimation in such quintessentially modern forms as the novel and film, from Sir Walter Scott's Kenilworth to Kenneth Branagh's Henry V, Diana E. Henderson sketches a complex history of the pleasures and difficulties that ensue when Shakespeare and modern artists collaborate.Working with texts across the entire range of Shakespeare's career, Henderson demonstrates—through detailed analyses of novels including Jane Eyre and Mrs. Dalloway as well as filmed, televised, and staged performances—that art (even in the newest media) cannot avoid collaborating with the past. Only by studying that collaborative process can we comprehend Shakespeare and Anglo-American culture.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.