Richard Rodgers and Lorenz Hart are one of the defining duos of musical theater, contributing dozens of classic songs to the Great American Songbook and working together on over 40 shows before Hart's death. With hit after hit on both Broadway and the West End, they produced many of the celebrated songs of the '20s and '30s--such as "Manhattan," "The Lady is a Tramp," and "Bewitched"--that remain popular favorites with great cultural resonance today. Yet the early years of these iconic collaborators have remained largely unexamined. We'll Have Manhattan: The Early Work of Rodgers & Hart provides unprecedented insight into the first, formative period of Rodgers and Hart's collaboration. Author Dominic Symonds examines the pair and their work from their first meeting in 1919 to their brief flirtation with Hollywood in the early 1930s as they left the theater to explore sound film. During this time, their output was prodigious, progressive, and experimental. They developed their characteristic style and a new approach to musical theater writing that provided the groundwork for the development of the Broadway musical. Symonds also analyzes the theme of identity that runs throughout Rodgers and Hart's work, how the business side of the theater affected their artistic output, and their continued experimentation with a song's dramatic role within a narrative. We'll Have Manhattan goes beyond a biographical or historical look at Rodgers and Hart's early years--it's also an accessible but authoritative study of their material. Symonds documents their early shows and provides deft critical and analytical commentary on their evolving practice and its influence on the subsequent development of the American musical. Fans of musical theater and devotees of Rodgers and Hart will find this definitive exploration of their early works to be an essential addition to their Broadway library.
Broadway Rhythm is a guide to Manhattan like nothing you've ever read. Author Dominic Symonds calls it a performance cartography, and argues that the city of New York maps its iconicity in the music of the Broadway songbook. A series of walking tours takes the reader through the landscape of Manhattan, clambering over rooftops, riding the subway, and flying over skyscrapers. Symonds argues that Broadway's songs can themselves be used as maps to better understand the city though identifiable patterns in the visual graphics of the score, the auditory experience of the music, and the embodied articulation of performance, recognizing in all of these patterns, corollaries inscribed in the terrain, geography, and architecture of the city. Through musicological analyses of works by Gershwin, Bernstein, Copland, Sondheim and others, the author proposes that performance cartography is a versatile methodology for urban theory, and establishes a methodological approach that uses the idea of the map in three ways: as an impetus, a metaphor, and a tool for exploring the city.
Venice and its environment are perceived to be in peril due to rising sea levels, tourism, and modern development. Are these threats myths or reality? This book explores Venice's environmental risks based on interviews with Venetian environmental campaigners and draws on the mythology of the Venetian Republic. Campaigners' opinions about the mobile dams nearing completion to protect the city reveal that Venice now represents an environmentally-threatened retreat from modernity. This reputation has been established as sustainable development and climate change policies have risen to the top of political agendas in many cities and countries. The book investigates how environmentalism has been transformed from a theory underpinning counter-cultural movements to part of a dominant holistic culture in Western societies. Rather than constraining Venice in search of a mythical harmony with nature, this book offers a ten-point proposal to modernize the city while preserving its ancient heritage.
Wilfred Owen's poetry is now very widely known as the finest that came out of the First World War. But much about the poet and his work has not been fully understood. This book, based on unrivalled research, is the first to study of Owen's complete poetic achievement, revealing the uniqueness, strangeness and unity of what he called his 'poethood'. His war poems are shown to be a consistent development from his prewar verse and his unswerving allegiance to Romanticism; they grew out of a pattern of mythologised secret experience that took shape in some of his least-known manuscripts before he knew anything of the trenches. Owen lived for poetry; many unfamiliar aspects of that life are brought into focus, including his early discovery of Georgianism, his battle wirh Revivalist religion, his debt to the French Decadence, his alleged cowardice, the torment of his shellshock and the remarkable 'sociological' treatment he received for it, his sexual nature and his friendship with Oscar Wilde's beleaguered disciples in 1918, and his supreme courage in making poetry out of inner horrors deliberately 'recollected in tranquility'. Learning from Wordsworth and Shelley, Aesthetes and Decadents, Sassoon and the Georgians, Hardy, Barbusse, Russell, Edward Carpenter and many others, Owen realised his life's ambition and became a profoundly origianal poet. Owen the Poet ends with chapters on two of his richest works: 'Strange Meeting', his worst shellshock nightmare, and 'Spring Offensive', the epilogue to all he wrote. Notes, appendixes and bibliography complete what is likely to be the most authoritative book on its subject for many years to come.
This original study draws on the results of latest discoveries to describe London’s Roman origins. It presents a wealth of new information from one of the world’s most intensively studied archaeological sites, introducing many original ideas concerning London’s economic and political history. The archaeological discoveries are used to build a narrative account that explains how recent investigations in London challenge our understanding of the ancient world. The Roman city was probably converted from a fort built on the north side of London Bridge at the time of the Roman conquest, and is the place where the emperor Claudius arrived en route to claim his victory in AD 43. It was rebuilt as the commanding site for Rome’s rule of Britain. A history of social, architectural, and economic development is reconstructed from precise tree-ring dating, and used to show that investment in the urban infrastructure was provoked by the needs of military campaigns and political strategies. The story also shows how the city suffered violent destruction in resistance to Roman rule, and was brought to the verge of collapse by pandemics and political insecurity in the second and third centuries. These events had a critical bearing on the reforms of late antiquity, from which London emerged as a defended administrative enclave. Always a creature of the centralized Roman administration, and largely dependent on colonial immigration, the city was subsequently deserted when Rome failed to maintain political control. This ground-breaking study brings new information and arguments drawn from urban archaeology to our study of the way in which Rome ruled, and how empire failed"--Publisher's description.
This book addresses the psychological consequences of wounds and the psychological components of wound care, building on contemporary research evidence and presenting practical clinical guidelines. Particular emphasis is given to the psychological impact of both wounds and wound treatment. Implications for practice are discussed, making this book both educational and practical. Psychology of Wounds and Wound Care in Clinical Practice is aimed at clinicians, including GPs, vascular surgeons and physicians, nurses, especially tissue viability nurses, and podiatrists, and is also of interest to academic teachers and researchers.
Scholars, military men, and casual observers alike have devoted significant energy to understanding how the armies of the Roman Middle Republic (300 – 100 BCE) were able to function so effectively, examining their organization, hierarchy, recruitment, tactics, and ideology in close detail. But what about the concerns, interests, and goals of the soldiers who powered it? The present study argues that the military forces of the Middle Republic were not simply cogs in the Roman military machine, but rather dynamic and diverse social units that played a key role in shaping an ever-changing Mediterranean world. Indeed, the soldiers in the armies of this period not only developed connections with one another, but also formed bonds with non-military personnel who traveled with as well as inhabitants of the places where they campaigned. The connections soldiers developed while on campaign gave them significant power and agency as a group. Throughout the third and second centuries BCE, soldiers took collective actions, ranging from mutiny to defection to looting, to ensure that their economic, social, and political interests were advanced and protected. Recognizing the communities that Roman soldiers formed and the power that they exerted not only reframes our understanding of the Middle Republic and its armies, but fundamentally alters how we conceptualize the turbulent years of the Late Republic and the massive social, political, and military changes that followed.
In the final days of 2019, a new and deadly virus was quietly spreading through the city of Wuhan, China. Within six months it would kill half a million people worldwide, infect a further 10 million, and change the way all of us live, work and play forever. Now, for the first time, the real story of the greatest global crisis of the age can be told. Reporters Dylan Howard and Dominic Utton, collaborating from New York and London—infection hotspots in what would become two of the worst-hit nations on Earth—have together mapped the rise, spread and impact of the virus . . . and uncovered some explosive revelations. COVID-19: The Greatest Cover-Up in History—From Wuhan to the White House delivers the unfettered truth about what is undoubtedly the biggest political scandal of our time. It shows in unprecedented detail how governments in China, the UK, and the US not only failed to protect their citizens from the threat of the disease, but actively conspired to put their own political and economic ideologies above the lives of ordinary people. From early attempts by Beijing to silence any reports of the new virus to the inability of the WHO to act decisively; from warnings received and ignored by President Trump to decisions taken by the UK government that directly led to the loss of tens of thousands of lives; from whispers of military experiments to outlandish 5G conspiracy theories, Howard and Utton separate fact from fiction, science from hysteria, and expose a trail of dead bodies, wilful mismanagement, incompetence, arrogance, deliberate cover-ups, and outrageous lies that raise serious questions about who is really responsible for the hundreds of thousands killed by COVID-19. Through vigorous investigations, dedicated reporting, and exclusive first-person sourcing, COVID-19 unearths a more complex understanding of the rise, spread, and consequences of the first six months of the pandemic than has yet been seen, and exposes shocking revelations about the roles and motivations of the American and British governments in the crisis. The true story of COVID-19 is not just that of a silent killer that suddenly invaded the world . . . it’s the scandal of a global tragedy that could have—and should have—been prevented. The real number of deaths and infections from the virus will never be known. The figures have not only been underreported in China, but by supposedly transparent governments in the West for reasons less connected with public safety and more to do with their own mendacity, incompetence, and corruption. Written with the urgency and tension of a thriller novel but grounded in rigorously factual reporting, COVID-19 is the essential read on the most horrifying scandal of our age.
A very timely book."—Anne-Marie Slaughter, CEO of New America How cognitive biases can guide good decision making in politics and international relations A widespread assumption in political science and international relations is that cognitive biases—quirks of the brain we all share as human beings—are detrimental and responsible for policy failures, disasters, and wars. In Strategic Instincts, Dominic Johnson challenges this assumption, explaining that these nonrational behaviors can actually support favorable results in international politics and contribute to political and strategic success. By studying past examples, he considers the ways that cognitive biases act as “strategic instincts,” lending a competitive edge in policy decisions, especially under conditions of unpredictability and imperfect information. Drawing from evolutionary theory and behavioral sciences, Johnson looks at three influential cognitive biases—overconfidence, the fundamental attribution error, and in-group/out-group bias. He then examines the advantageous as well as the detrimental effects of these biases through historical case studies of the American Revolution, the Munich Crisis, and the Pacific campaign in World War II. He acknowledges the dark side of biases—when confidence becomes hubris, when attribution errors become paranoia, and when group bias becomes prejudice. Ultimately, Johnson makes a case for a more nuanced understanding of the causes and consequences of cognitive biases and argues that in the complex world of international relations, strategic instincts can, in the right context, guide better performance. Strategic Instincts shows how an evolutionary perspective can offer the crucial next step in bringing psychological insights to bear on foundational questions in international politics.
Though Meredith Willson is best remembered for The Music Man, there is a great deal more to his career as a composer and lyricist. In The Big Parade, author Dominic McHugh uses newly uncovered letters, manuscripts, and production files to reveal Willson's unusual combination of experiences in his pre-Broadway career that led him to compose The Music Man.
Dominic Baker-Smith has been a leading international authority on humanism for more than four decades, specializing in the works of Erasmus and Thomas More. The present collection of essays by colleagues throughout Europe, Canada, and the United States examines humanism in both its historic sixteenth-century meanings and applications and the humanist tradition in our own time, drawing on his work and that of scholars who have followed him. Contributors include Andrew Weiner, Elizabeth McCutcheon, and Germaine Warkentin. Arthur F. Kinney is Thomas W. Copeland Professor of Literary History at the University of Massachusetts, Amherst. Ton Hoenselaars is Associate Professor of English at the University of Utrecht.
A manager argued that he could either increase his business unit's margins or its sales, but not both. His chief executive reminded him of the time when people lived in mud huts and faced the stark choice between light and heat: punch a hole in the side of your hut and you let the daylight in but also the cold, or block up all the openings and you stay warm but sit in darkness. The invention of glass made it possible to overcome the dilemma—to let in the light but not the cold. How then, he asked his manager, will you resolve your dilemma between no sales or no margin improvement? Where is the glass? —From the Introduction "To win, leaders have to push their companies beyond trade-offs. They must find strong growth at premium returns, not one or the other. They must deliver great results today and build for the future at the same time, not push for earnings that can't be sustained. The Three Tensions is about having both at the same time, more of the time. I recommend it to any manager serious about winning." —James Kilts, former chairman, CEO, and president, The Gillette Company "Leadership can't be just about telling people what you expect of them. The Three Tensions sets out a range of helpful tactics leaders can adopt to really engage their people in the search for good performance on many fronts." —Andrew Cosslett, chief executive, InterContinental Hotels Group PLC "The Three Tensions speaks to fundamental management issues, perhaps the most fundamental. Managers looking for new ideas on how to improve performance will find it very stimulating. I found my own thinking very much influenced by it." —John Roberts, professor of economics, strategic management, and international business, Stanford Business School
Why has America stopped winning wars? For nearly a century, up until the end of World War II in 1945, America enjoyed a Golden Age of decisive military triumphs. And then suddenly, we stopped winning wars. The decades since have been a Dark Age of failures and stalemates-in Korea, Vietnam, Iraq, and Afghanistan-exposing our inability to change course after battlefield setbacks. In this provocative book, award-winning scholar Dominic Tierney reveals how the United States has struggled to adapt to the new era of intractable guerrilla conflicts. As a result, most major American wars have turned into military fiascos. And when battlefield disaster strikes, Washington is unable to disengage from the quagmire, with grave consequences for thousands of U.S. troops and our allies. But there is a better way. Drawing on interviews with dozens of top generals and policymakers, Tierney shows how we can use three key steps-surge, talk, and leave-to stem the tide of losses and withdraw from unsuccessful campaigns without compromising our core values and interests. Weaving together compelling stories of military catastrophe and heroism, this is an unprecedented, timely, and essential guidebook for our new era of unwinnable conflicts. The Right Way to Lose a War illuminates not only how Washington can handle the toughest crisis of all-battlefield failure-but also how America can once again return to the path of victory.
This is a book about collaboration in the arts, which explores how working together seems to achieve more than the sum of the parts. It introduces ideas from economics to conceptualize notions of externalities, complementarity, and emergence, and playfully explores collaborative structures such as the swarm, the crowd, the flock, and the network. It uses up-to-date thinking about Wikinomics, Postcapitalism, and Biopolitics, underpinned by ideas from Foucault, Bourriaud, and Hardt and Negri. In a series of thought-provoking case studies, the authors consider creative practices in theatre, music and film. They explore work by artists such as Gob Squad, Eric Whitacre, Dries Verhoeven, Pete Wyer, and Tino Seghal, and encounter both live and online collaborative possibilities in fascinating discussions of Craigslist and crowdfunding at the Edinburgh Festival. What is revealed is that the introduction of Web 2.0 has enabled a new paradigm of artistic practice to emerge, in which participatory encounters, collaboration, and online dialogue become key creative drivers. Written itself as a collaborative project between Karen Savage and Dominic Symonds, this is a strikingly original take on the economics of working together.
This is a book about collaboration in the arts, which explores how working together seems to achieve more than the sum of the parts. It introduces ideas from economics to conceptualize notions of externalities, complementarity, and emergence, and playfully explores collaborative structures such as the swarm, the crowd, the flock, and the network. It uses up-to-date thinking about Wikinomics, Postcapitalism, and Biopolitics, underpinned by ideas from Foucault, Bourriaud, and Hardt and Negri. In a series of thought-provoking case studies, the authors consider creative practices in theatre, music and film. They explore work by artists such as Gob Squad, Eric Whitacre, Dries Verhoeven, Pete Wyer, and Tino Seghal, and encounter both live and online collaborative possibilities in fascinating discussions of Craigslist and crowdfunding at the Edinburgh Festival. What is revealed is that the introduction of Web 2.0 has enabled a new paradigm of artistic practice to emerge, in which participatory encounters, collaboration, and online dialogue become key creative drivers. Written itself as a collaborative project between Karen Savage and Dominic Symonds, this is a strikingly original take on the economics of working together.
This book presents the aims, methods and outcomes of an innovative wide-ranging exploration of public attitudes to heritage, conducted in 2015-16 across Lincolnshire, England’s second-largest county. As policy and practice evolve, this research will remain valuable as a snapshot in time of public engagement with heritage.
This lively textbook provides a comprehensive overview of the history, theory and practice of this popular theatre form. Bringing critical theory and musical theatre together, Millie Taylor and Dominic Symonds explore the musical stage from a broad range of theoretical perspectives. Part 1 focuses on the way we understand musicals as texts and Part 2 then looks at how musical theatre negotiates its position in the wider world. Part 3 recognises the affiliations of various communities with the musical stage, and finally part 4 unravels the musical's relationship with time, space, intertextuality and entertainment. Written by leading experts in Musical Theatre and Drama, Taylor and Symonds utilise their wealth of knowledge to engage and educate the reader on this diverse subject. With its accessible and extensive content, this text is the ideal accompaniment to any study of musical theatre internationally: an essential tool for students of all levels, lecturers, practitioners and enthusiasts alike.
Richard Rodgers and Lorenz Hart are one of the defining duos of musical theater, contributing dozens of classic songs to the Great American Songbook and working together on over 40 shows before Hart's death. With hit after hit on both Broadway and the West End, they produced many of the celebrated songs of the '20s and '30s--such as "Manhattan," "The Lady is a Tramp," and "Bewitched"--that remain popular favorites with great cultural resonance today. Yet the early years of these iconic collaborators have remained largely unexamined. We'll Have Manhattan: The Early Work of Rodgers & Hart provides unprecedented insight into the first, formative period of Rodgers and Hart's collaboration. Author Dominic Symonds examines the pair and their work from their first meeting in 1919 to their brief flirtation with Hollywood in the early 1930s as they left the theater to explore sound film. During this time, their output was prodigious, progressive, and experimental. They developed their characteristic style and a new approach to musical theater writing that provided the groundwork for the development of the Broadway musical. Symonds also analyzes the theme of identity that runs throughout Rodgers and Hart's work, how the business side of the theater affected their artistic output, and their continued experimentation with a song's dramatic role within a narrative. We'll Have Manhattan goes beyond a biographical or historical look at Rodgers and Hart's early years--it's also an accessible but authoritative study of their material. Symonds documents their early shows and provides deft critical and analytical commentary on their evolving practice and its influence on the subsequent development of the American musical. Fans of musical theater and devotees of Rodgers and Hart will find this definitive exploration of their early works to be an essential addition to their Broadway library.
Richard Rodgers and Lorenz Hart are one of the defining duos of musical theater, contributing dozens of classic songs to the Great American Songbook and working together on over 40 shows before Hart's death. With hit after hit on both Broadway and the West End, they produced many of the celebrated songs of the '20s and '30s--such as "Manhattan," "The Lady is a Tramp," and "Bewitched"--that remain popular favorites with great cultural resonance today. Yet the early years of these iconic collaborators have remained largely unexamined. We'll Have Manhattan: The Early Work of Rodgers & Hart provides unprecedented insight into the first, formative period of Rodgers and Hart's collaboration. Author Dominic Symonds examines the pair and their work from their first meeting in 1919 to their brief flirtation with Hollywood in the early 1930s as they left the theater to explore sound film. During this time, their output was prodigious, progressive, and experimental. They developed their characteristic style and a new approach to musical theater writing that provided the groundwork for the development of the Broadway musical. Symonds also analyzes the theme of identity that runs throughout Rodgers and Hart's work, how the business side of the theater affected their artistic output, and their continued experimentation with a song's dramatic role within a narrative. We'll Have Manhattan goes beyond a biographical or historical look at Rodgers and Hart's early years--it's also an accessible but authoritative study of their material. Symonds documents their early shows and provides deft critical and analytical commentary on their evolving practice and its influence on the subsequent development of the American musical. Fans of musical theater and devotees of Rodgers and Hart will find this definitive exploration of their early works to be an essential addition to their Broadway library.
Gestures of Music Theater: The Performativity of Song and Dance offers new, cutting-edge essays focusing on song and dance as performative gestures that not only entertain but also act on audiences and performers. The chapters range across musical theater, opera, theater, and other artistic practices, from Glee to Gardzienice, Beckett to Disney, Broadway to Turner-Prize-winning sound installation. The chapters draw together these diverse examples of vocality and physicality by exploring their affect rather than through considering them as texts. The book's contributors derive methodologies from many disciplines. Resisting discrete discipline-based enquiry, they share methodologies and performance repertoires with discipline-based scholarship from theater studies, musicology, and cultural studies, among other approaches. Together, they view these as neighboring voices whose dialogue enriches the study of contemporary music theater.
This book presents the aims, methods and outcomes of an innovative wide-ranging exploration of public attitudes to heritage, conducted in 2015-16 across Lincolnshire, England’s second-largest county. As policy and practice evolve, this research will remain valuable as a snapshot in time of public engagement with heritage.
This book presents the aims, methods and outcomes of an innovative wide-ranging exploration of public attitudes to heritage, conducted in 2015-16 across Lincolnshire, England's second-largest county. As policy and practice evolve, this research will remain valuable as a snapshot in time of public engagement with heritage.
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