This book explores what mission and discipleship meant for some of the earliest Christian communities. It is based on the Hugh Price Hughes Lectures in the West London Mission.
Scoring another goal for gender equality, the 2019 Southern African Development Community (SADC) Gender Protocol Barometer breaks with past tradition in focusing solely on Sexual and Reproductive Health and Rights. Measuring 100 indicators across seven themes, the Barometer is the first civil society shadow report on SADC’s new SRHR Strategy Score Card, ranking countries based on their performance, while offering detailed analysis and insights into what is changing and still needs to change. The no-hold-barred #VoiceandChoice Barometer features the first stand-along chapters on Adolescent Sexual and Reproductive Health and Rights, Safe Abortion, and Sexual Diversity. It provides the data that underpins 40 national campaigns led the focal networks of the Southern African Gender Protocol Alliance, and 174 local campaigns led by the Centres of Excellence for Gender in Local Government. A must read for all those committed to Action and Results for Agenda 2030 in the SADC region.
The childlike character of ideal femininity has long been critiqued by feminists, from Mary Wollstonecraft to Simone de Beauvoir. Yet, women continue to be represented as childlike in the western fashion media, despite the historical connotations of inferiority. This book questions why such images still hold appeal to contemporary women, after three, or even four, waves of feminism. Focusing on the period of 1990–2015, Picturing the Woman-Child traces the evolution of childlike femininity in British fashion magazines, including Vogue, i-D and Lula, Girl of my Dreams. These images draw upon a network of references, from Kinderwhore and Lolita to Alice in Wonderland and the femme-enfant of Surrealism. Alongside analysis of fashion photography, the book presents the findings of original research into audience reception. Inviting contemporary women to comment on images of the 'woman-child' provides an insight into the meaning of this figure as well as an evaluation of theory on the 'female gaze'. Both scholarly and accessible, the book paves the way for future studies on how readers make sense of fashion imagery.
The Guffin; Mobile Phone Show; What Are They Like?; We Lost Elijah; I'm Spilling My Heart Out Here; Tomorrow I'll Be Happy; Soundclash; Don't Feed the Animals; Ailie and the Alien; Forty-Five Minutes
The Guffin; Mobile Phone Show; What Are They Like?; We Lost Elijah; I'm Spilling My Heart Out Here; Tomorrow I'll Be Happy; Soundclash; Don't Feed the Animals; Ailie and the Alien; Forty-Five Minutes
Drawing together the work of ten leading playwrights – a mixture of established and current writers – National Theatre Connections 2013 offers young performers between the ages of thirteen and nineteen everywhere an engaging selection of plays to perform, read or study. Each play is specifically commissioned by the National Theatre's literary department and reflects the past year's programming at the venue in the plays' ideas, themes and styles. The plays are performed by approximately 200 schools and youth theatre companies across the UK and Ireland, in partnership with multiple professional regional theatres where the works are showcased. The volume features an introduction by Anthony Banks, Associate Director for the National Theatre Discover Programme, and each play includes notes from the writer and director addressing the themes and ideas behind the play, as well as production notes and exercises. Published to coincide with the 2013 Connections festival, and the 50th anniversary of the National Theatre, this year's collection features work from Howard Brenton, Jim Cartwright, Lucinda Coxon, Ryan Craig, Stacey Gregg, Jonathan Harvey, Lenny Henry, Jemma Kennedy, Morna Pearson, and Anya Reiss.
Celebrating the work of one of Ireland's most daring theatre companies, this anthology gathers five plays by established and emerging playwrights. They include vibrant new adaptations of the world classics Peer Gynt and Phaedra alongside vital new dramas that explore issues of urgent contemporary concern, such as sex and sexuality, emigration and climate change. With contributions from Hilary Fannin and Ellen Cranitch, Arthur Riordan, Sonya Kelly, Morna Regan, and Shane Mac an Bhaird – as well as a foreword from Booker Prize-winning novelist Anne Enright - this book is an exciting snapshot of contemporary Irish playwriting. The book operates as a showcase of outstanding new Irish playwriting, blending work by established and emerging playwrights, and also acts as a celebration of one of Ireland's most important theatre companies. And it includes new plays that demonstrate Rough Magic's consistent willingness to push the boundaries of Irish theatre, both formally and thematically, in plays that cover such topics as sex and sexuality, emigration and climate change. This edition contains a foreword by Anne Enright, Booker prize winner and Laureate of Irish Fiction.
How my wee boy, as naive and pastey as he is, could get a grown woman tae go weak at the knees, screaming, as it appears you wis last night. When he's nae so much as accidently brushed up against a wifie afore, and there's nae internet or dirty magazines in the hoose tae speak o. And I ken, I've checked under his mattress. Nut, nae contact wi anither female in the world. Oh. 'Cept his mammy o course. 'Cept his mammy. Geoffrey Buncher is an art teacher. Until now his only meaningful relationship has been with his mother, Edie, who doesn't want her 'wee man growing up too fast'. But when one day he reads in the newspaper that he's working in amongst the top ten sexiest professions, he decides to advertise in the local papers for a wife. Straying outside of his comfortable existence where his mother continues to buy her middle-aged son's Ribena, Geoffrey enters a frightening world of adulthood and female companionship that he struggles to adjust to. Attraction manifests itself in warped and disturbing ways and leads to a terrifying conclusion. Written in Morna Pearson's trademark 'lurid, post-modern Doric' (Scotsman), and with hints of Joe Orton and Harold Pinter, The Artist Man and the Mother Woman is a wickedly funny, deceptively simple, surreal portrait of a spectacularly dysfunctional relationship. This world premiere was staged by the Traverse Theatre Company in the Traverse One space between 30 October and 17 November 2012, directed by Orla O'Loughlin.
From the fifth to the nineteenth centuries, the people of western India built stone cisterns to collect the water of the monsoon rains and keep it accessible for the remaining dry months of the year. These magnificent structures-known as stepwells or stepped ponds-are much more than utilitarian reservoirs. Their lattice-like walls, carved columns, decorated towers, and intricate sculpture make them exceptional architecture., while their very presence tells much about the region's ecology and history. For these past 500 years, stepwells have been an integral part of western Indian communities as sites for drinking, washing, and bathing, as well as for colorful festivals and sacred rituals. Steps to Water traces the fascinating history of stepwells, from their Hindu origins, to their zenith during Muslim rule, and eventual decline under British occupation. It also reflects on their current use, preservation, and place in Indian communities. In stunning color and quadtone photographs and drawings, Steps to Water reveals the depth of the stepwells' beauty and their intricate details, and serves as a lens on these fascinating cultural and architectural monuments.
Much has been written regarding the New Woman in the fin de siècle and the changes women’s groups fought so hard to achieve. However, the social and gender changes demanded by women as the nineteenth century drew to a close necessitated a corresponding change in traditional masculinities. Redefinition of the male role was not easily negotiated in an era of rampant patriarchy and Victorian supremacy; the distinct boundaries between male and female social space made this increasingly problematic for both genders. Some Victorian men, who had seen the public sphere as exclusively theirs, felt both their masculinity and male privilege threatened and were confused by women’s challenges and their attempted encroachment into what had previously been perceived as solely male domains. While many female authors explored possibilities for the New Woman figure, as the fin de siècle approached, male authors began to consider how masculinities might respond to changing gender dynamics. Authors such as Sir Arthur Conan Doyle and Bram Stoker, amongst others, addressed ways in which their male characters could negotiate a quandary of masculinities under threat by alterations to conventional gender spheres while remaining “manly” in situations which required a rethinking of many of their basic tenets during this time of flux. This book examines the opinions of women within both the dominant and reverse discourses, and parallels them with ideas surrounding changes in masculinities that began to emerge in male-authored texts. As such, it details an often vociferous negotiation of volatile issues which led to a major upheaval of gender roles in the approach to a new century that demanded changes which were difficult to achieve.
To paraphrase Alistair Beaton's Caledonia - the first play in this collection - 'The English have anthologies, the Spanish have anthologies, the French have anthologies . . . why should not Scotland have its anthology?' Scotland is entering a crucial period in its history, where its identity is being debated daily, from everyday conversation to the national and international press. At the same time, its theatre is resurgent, with key Scottish playwrights, theatres and theatre companies expanding their performance vocabularies while coming to prominence in national and international contexts. Caledonia is a tale of hubris and delusion, portraying a crucial slice of Scotland's history and its foray into imperial colonialism told with dark humour and creative flair, by award-winning playwright and satirist Alistair Beaton. Bullet Catch, by Rob Drummond, is a unique theatrical experience exploring the world of magic, featuring mind-reading, levitation, and the most notorious finale in show business. Morna Pearson's The Artist Man and the Mother Woman is a wickedly funny, deceptively simple, surreal portrait of a spectacularly dysfunctional relationship. Rantin', by Kieran Hurley draws on storytelling, live music and an unapologetically haphazard take on Scottish folk tradition, in an attempt to stitch together fragmented stories to reveal a botched patchwork of a nation. First performed at the Royal Court in 2013, Narrative by Anthony Neilson is a theatrical exploration of the the boundaries and possibilities of storytelling. Featuring plays from Alistair Beaton, Rob Drummond, Morna Pearson, Kieran Hurley and Anthony Neilson, this collection is edited by Dr. Trish Reid, a leading critical voice on Scottish theatre.
Convinced that Christ's crucifixion cannot be interpreted in isolation from his resurrection, Morna Hooker here gives a comprehensive and inspiring survey of the New Testament's teaching about the death of Christ. By looking closely at the great variety of images and metaphors employed in the writings of Paul and in Mark, Matthew, Luke-Acts, John, Hebrews, 1 Peter, 1 John, and Revelation, Hooker discusses the different ways in which the authors of the New Testament searched for, and then discovered, meaning in the death and resurrection of Christ. Hooker shows that the concept of substitutionary atonement does not take us far enough in understanding the profound truth, taught especially by Paul, that Christ became what we are in order that we might become what he is. He took his place as one of us and died our death in order that we might be identified with him both in his death and in his resurrection. She also demonstrates in meaningful new ways that the message of the cross - the message that lies at the heart of the gospel - is as relevant, and as disturbing, to the present generation as it was to its first hearers. Provocative, at times even controversial, this volume will be highly stimulating to readers who are prepared to take a fresh look at the New Testament evidence.
This book is about the "beginnings" or prologues to the four canonical Gospels, which refer to topics to be dealt with in what follows and offer guidance as to the particular way in which the author feels the rest of the book should be read. The beginnings also contain significant hints as to what the end of the story will be. Beginnings qualifies as a basic introduction to the contents of the Gospels and a helpful starting point for reading this literature. Using the metaphor a key that opens the door, Morna Hooker moves sequentially through Mark, Matthew, Luke, and John as, respectively, a "dramatic key," a "prophetic key," a "spiritual key," and a "glorious key.
St Mark's Gospel is among the earliest records about Jesus of Nazareth. This commentary focuses primarily on the problem of understanding what Mark himself intended to convey to his readers when he set out to write 'the good news of Jesus Christ'. There is an examination of information in the gospel about the historical Jesus, about the early Christian community and about Mark's theological concerns. There is, also, consideration of the sources for the Gospel, of the tradition behind it and of interventions by editors. Professor Hooker's new commentary takes account of the many lasted twentieth-century Markan studies and comes with her own translation of the Gospel. References to Greek sources are included but do not require a knowledge of Greek.
A storm is brewing in a small fishing village. A young woman returns home, searching for answers about her father's death. But as she begins to weave together the strands of her past, a mysterious force unravels family secrets. Lost at Sea journeys through a labyrinth of myth and memory in an epic tale spanning forty years of the fishing industry. Featuring the voices of fishermen and their families in their own words - with music, songs and Scots language – it is the lyrical and powerfully evocative story of a North-East fishing family. Inspired by the loss of playwright Morna Young's fisherman father, Lost at Sea is a personal tribute to the fishing communities of Scotland.
St Mark's Gospel is among the earliest records about Jesus of Nazareth. This commentary focuses primarily on the problem of understanding what Mark himself intended to convey to his readers when he set out to write the good news of Jesus Christ'. There is an examination of information in the gospel about the historical Jesus, about the early Christian community and about Mark's theological concerns. There is, also, consideration of the sources for the Gospel, of the tradition behind it and of interventions by editors. Professor Hooker's new commentary takes account of the many lasted twentieth-century Markan studies and comes with her own translation of the Gospel. References to Greek sources are included but do not require a knowledge of Greek.
The playwrights of these three funny, moving and provocative plays were chosen from 390 entrants to write a contemporary female response to Noel Coward’s Tonight at 8.30. Jenny Ayres’ Glimpse is inspired by Coward’s Still Life. It is the story of a woman whose history holds too much for her to leave behind. In a world that never stops, are we brave enough to wait? What might we glimpse if we miss the train? Emma Harding’s The Thing Itself reacts to Coward’s Shadow Play. When the sun fails to come up one morning, Vic and Simone must face the dark. But what emerges from the shadows? Truth or illusion? Morna Young’s Smite is inspired by Coward’s The Astonished Heart. It is a story of buried answers, blind hearts, and life after loss.
How my wee boy, as naive and pastey as he is, could get a grown woman tae go weak at the knees, screaming, as it appears you wis last night. When he's nae so much as accidently brushed up against a wifie afore, and there's nae internet or dirty magazines in the hoose tae speak o. And I ken, I've checked under his mattress. Nut, nae contact wi anither female in the world. Oh. 'Cept his mammy o course. 'Cept his mammy. Geoffrey Buncher is an art teacher. Until now his only meaningful relationship has been with his mother, Edie, who doesn't want her 'wee man growing up too fast'. But when one day he reads in the newspaper that he's working in amongst the top ten sexiest professions, he decides to advertise in the local papers for a wife. Straying outside of his comfortable existence where his mother continues to buy her middle-aged son's Ribena, Geoffrey enters a frightening world of adulthood and female companionship that he struggles to adjust to. Attraction manifests itself in warped and disturbing ways and leads to a terrifying conclusion. Written in Morna Pearson's trademark 'lurid, post-modern Doric' (Scotsman), and with hints of Joe Orton and Harold Pinter, The Artist Man and the Mother Woman is a wickedly funny, deceptively simple, surreal portrait of a spectacularly dysfunctional relationship. This world premiere was staged by the Traverse Theatre Company in the Traverse One space between 30 October and 17 November 2012, directed by Orla O'Loughlin.
When Helen Daniels from Neighbours died, Robert shut his door on the world. And he's not opened it since. Now his only connection to the outside world is through his younger sister Isla, who looks after them both whilst their father is away in Ibiza on 'business'. With only a strange menagerie of creatures (including an iguana called Scott and a corn snake called Charlene) to keep them company, each day looks pretty much the same as the last – until their quiet lives are interrupted by a visit from Jessica, a benefit assessor, determined to prove that Robert is fit for work. But Jessica soon realises that one size certainly does not fit all, as she suddenly stumbles across a secret about Robert that catapults her head first into a universe of infinite possibilities. Merging biting social commentary and fantasy in unexpected ways, How to Disappear is a pitch-black comedy which gives a voice to those who often go unheard.
This, the third National Theatre Connections anthology published with Methuen Drama, is aimed at young performers and schools, and marks the National Theatre's 50th anniversary.
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