Theatre of Anger examines contemporary transnational theatre in Berlin through the political scope of anger, and its trajectory from Aristotle all the way to Audre Lorde and bell hooks.
Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of "slow cinema," Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.
The recording of Indigenous voices is one of the most well-known methods of colonial ethnography. In A Decolonizing Ear, Olivia Landry offers a sceptical account of listening as a highly mediated and extractive act, influenced by technology and ideology. Returning to early ethnographic practices of voice recording and archiving at the turn of the twentieth century, with a particular focus on the German paradigm, she reveals the entanglement of listening in the logic of Euro-American empire and the ways in which contemporary films can destabilize the history of colonial sound reproduction. Landry provides close readings of several disparate documentary films from the late 1990s and the early 2000s. The book pays attention to technology and knowledge production to examine how these films employ recordings plucked from different colonial sound archives and disrupt their purposes. Drawing on film and documentary studies, sound studies, German studies, archival studies, postcolonial studies, and media history, A Decolonizing Ear develops a method of decolonizing listening from the insights provided by the films themselves.
Most Anticipated by SheReads * The Nerd Daily * Paste Magazine Jessica Goodman meets The Agathas in this taut, twisty YA thriller set in the glittering world of Mardi Gras in New Orleans, where secrets--and bodies--never stay buried. For the New Orleans elite, the Les Masques Ball is sure to be the social event of the season—if they can avoid another dead Queen. When debutante Margot Landry was found dead the morning after her reign at last year’s ball, it was a tragedy, but not a shocking one. Margot was a wild child with a self-destructive streak, nothing like this year’s Queen, Lily LeBlanc. With a perfectly poised debutante on the throne, everything is going according to plan...until the ball is hijacked by a mysterious figure in a Jester costume. That night, Lily sends a text to three of the Maids on her royal court—her best friend, Vivian; her boyfriend's sister, Piper; and April, her former frenemy—asking them all to meet the next morning. But Lily never shows up. On the surface, these three debutantes don’t have anything in common except their exclusive private school and their ties to Les Masques. But soon, they realize why Lily brought them together: something dark is lurking beneath the glamorous surface of the debutante world, and it might be the reason she disappeared. And the further the girls dig, the more they begin to suspect that Margot's death may not have been an accident—and that Lily may be next. When the Jester starts threatening to expose their own secrets, this unlikely trio must team up to uncover the monsters behind the Mardi Gras masks—before they’re left with another dead debutante.
There is no subject in the world more stereotypical than slavery of African Americans. This book is about four families: my mother and father’s families and my husband’s mother and father’s families, dating back to the era before slaves were brought out of Africa. Historically, our families evolved on a continuous basis and have proven to have been strong, resilient people, whose hopes and dreams were not easily squelched. We have researched the backgrounds of these relatives who were a part of the Atlantic slave trade because I want my children and grandchildren as well as the world to know who their ancestors were. I want them to know under what circumstances they came to America and finally became citizens with voting rights, educational and financial privileges, marital rights, and freedom. I want to clear up the misrepresentation and confusion of facts about slavery and the black man’s worth. Slaves over the last two thousand years have become a misnomer to our young people’s minds, and there is little knowledge of this period. Many civilizations and nations have been involved in slavery during the course of history. Contemporary records and archival documents were sought in an effort to reach greater heights of authenticity, enhance ancestral reality, and relate the facts to younger generations.
Louisiana has long been recognized for its production of talented writers, and its poets in particular have shined. From the early poetry of the state to the work crafted in the present day, Louisiana has nurtured and exported a rich and diverse poetic tradition. In Louisiana Poets: A Literary Guide authors Catharine Savage Brosman and Olivia McNeely Pass assess the achievements of Louisiana poets from the past hundred years who, Brosman and Pass assert, deserve both public notice and careful critical examination. Louisiana Poets presents the careers and works of writers whose verse is closely connected to the peoples, history, and landscapes of Louisiana or whose upbringing or artistic development occurred in the state. Brosman and Pass chose poets based on the scope, abundance, and excellence of their work; their critical reception; and the local and national standing of the writer and work. The book treats a wide range of forty poets—from national bestsellers to local celebrities—detailing their histories and output. Intended to be of broad interest and easy to consult, Louisiana Poets showcases the corpus of Louisiana poetry alongside its current profile. Brosman and Pass have created a guide that provides a way for readers to discover, savor, and celebrate poets who have been inspired in and by the Pelican State.
Our lives will be pulled from the ashes many times, and those times will bring good purposes in our lives. Individualism and independence are at the heart of being American. There will always be many ambition- driven challenges, many events you will not foresee. You will handle some well and some badly. For there is no adequate preparation for all of life’s situations and relationships. There is no such thing as perfection when it comes to relationships that exist between people, especially the relationships between a man and woman. It is possible to have a good relationship with persons in your life, once you first have that relationship with yourself. But with the Creator’s help, you will prevail, you will not fail. We must open doors wide to let others in to learn and to mature. Our Creator will fix our hearts to become involved in reaching and bringing a lost world to Him.
Jordan and Wagner write with clarity and energy throughout, and businesspeople who seek to more fully understand the nature of their leadership style are likely to learn a lot." - Kirkus Reviews "Right Leader Right Time is an excellent overview of the skills needed both to launch a new business or improve an existing one. Robert Jordan and Olivia Wagner offer a crucial insight - that there is no on formula for success nor one style that fits all situations. Instead they offer four styles - Fixer, Artist, Builder and Strategist - and explain the particular talents that each has to offer. Above all, they combine their theory with numerous real world examples that prove their point. In a world of electronic immersion and global tribes, Right Leader Right Time is the right book at the right time." - JAMES RICKARDS, Author, National Best Sellers Currency Wars: The Making of the Next Global Crisis, and The Death of Money. How is it that some leaders win brilliantly and repeatedly, while others struggle to reach their full potential? Over a decade, Robert Jordan and Olivia Wagner set out to answer this question, interviewing thousands of leaders and matching top executives with struggling or high-growth organizations, learning first-hand what separated the rockstars from the rest. In Right Leader Right Time they identify four unique leadership styles—Fixer, Artist, Builder, and Strategist (FABS)—that when applied to the right role at the right time, skyrocket success for both the leader and the organization. Learn your FABS leadership style and discover a framework that will elevate you as a leader to greater career success while giving a blueprint for organizations to build collaborative, intentional teams. Right Leader Right Time is filled with insights and inspiration including: Real-world stories, winning habits, and techniques from more than 120 leaders who show the mindset, approach, and drive associated with Fixers, Artists, Builders, and Strategists (which one are you?) In-depth profiles on the career journeys of four leaders who have achieved outsized success by embracing their unique leadership talents Checklists to quickly identify your dominant and secondary leadership styles The three pillars that unite FABS leaders and help companies match the right leader, in the right role, at the right time It’s time to find the key to acting in alignment with your highest and best use – because that’s where the magic happens. BONUS: Take the FABS Leadership Assessment at www.RightLeader.com to discover your leadership style and see how acting in your best mode powers you for success in particular organization, stages, and situations. Embrace the career you’ve dreamed of! Robert Jordan and Olivia Wagner are principals in InterimExecs, a Chicago-based company that specializes in placing the right leaders in the right positions at the right time.
The recording of Indigenous voices is one of the most well-known methods of colonial ethnography. In A Decolonizing Ear, Olivia Landry offers a sceptical account of listening as a highly mediated and extractive act, influenced by technology and ideology. Returning to early ethnographic practices of voice recording and archiving at the turn of the twentieth century, with a particular focus on the German paradigm, she reveals the entanglement of listening in the logic of Euro-American empire and the ways in which contemporary films can destabilize the history of colonial sound reproduction. Landry provides close readings of several disparate documentary films from the late 1990s and the early 2000s. The book pays attention to technology and knowledge production to examine how these films employ recordings plucked from different colonial sound archives and disrupt their purposes. Drawing on film and documentary studies, sound studies, German studies, archival studies, postcolonial studies, and media history, A Decolonizing Ear develops a method of decolonizing listening from the insights provided by the films themselves.
Mama Fannie was found in a sugarcane field in central Louisiana by slave women who came out to work one early fall morning in 1853. She was about two and a half years old with no shoes or coat on. She was very tiny, white, and beautiful. Her fourteen-year-old pregnant slave mother arrived on a ship in New Orleans and was sold immediately to a plantation owner in Avoyelles Parish, Louisiana. Martha attempted to save her child from the hurt and shame she was experiencing by leaving her in the field for a surrogate mother to raise. Mama Fannie grew up to be a Christian woman of character, raised her many biracial children in a loving manner, and was allowed to marry three of the fathers of her many children and became the root of her family—the Griffins.
This book is about the relationship between a mother-in-law and daughter-in -law, who became proxy mother and daughter. They were able to communicate across the miles and became very committed to each other. They became confidants and shared many incidents and situations from child-birth to Lucy’s Legacy. Bert knew that he had a very loving mother and wanted her to nurture his bride. His mother did so.
In the face of the destructive possibilities of resurgent nationalisms, unyielding ethnicities and fundamentalist religious affinities, there is hardly a more urgent task than understanding how humans can learn to live alongside one another. This fascinating book shows how people from various societies learn to live with social diversity and cultural difference, and considers how the concepts of identity formation, diaspora and creolization shed light on the processes and geographies of encounter. Robin Cohen and Olivia Sheringham reveal how early historical encounters created colonial hierarchies, but also how conflict has been creatively resisted through shared social practices in particular contact zones including islands, port cities and the ‘super-diverse’ cities formed by enhanced international migration and globalization. Drawing on research experience from across the world, including new fieldwork in Louisiana, Martinique, Mauritius and Cape Verde, their account provides a balance between rich description and insightful analysis showing, in particular, how identities emerge and merge ‘from below’. Moving seamlessly between social and political theory, history, cultural anthropology, sociology and human geography, the authors point to important new ways of understanding and living with difference, surely one of the key challenges of the twenty-first century.
The history of Chicago can be told through its neighborhoods, and perhaps none is more telling than Douglas/Grand Boulevard on the city's south side. The future site of the neighborhood remained a sparsely settled prairie until the early 1850s, when Stephen A. Douglas purchased a large tract of land and began developing a residential subdivision for the wealthy. Douglas/Grand Boulevard: A Chicago Neighborhood explores the development of this distinctive community and the many obstacles its residents encountered. Originally a predominately white neighborhood, Douglas/Grand Boulevard became an African-American community during the Great Migration when thousands of Southern blacks moved north seeking greater opportunities. After the 1919 Race Riot, an increasing number of white residents moved away from the neighborhood, and the community became a national model of black achievement.
An aspiring teenage singer finds herself playing a different tune when she falls for a boy who could jeopardize her future dreams in Olivia Wildenstein's romantic YA novel, Not Another Love Song. Angie has studied music her entire life, nurturing her talent as a singer. Now a high school senior, she has an opportunity to break into Nashville's music scene via a songwriting competition launched by her idol, Mona Stone. Discouraged by her mother, who wishes Angie would set more realistic life goals, she nonetheless pours her heart and soul into creating a song worthy of Mona. But Angie's mother is the least of her concerns after she meets Reedwood High’s newest transfer student, Ten. With his endless collection of graphic tees, his infuriating attitude, smoldering good looks, and endearing little sister, Ten toys with the rhythm of Angie’s heart. She’s never desired anything but success until Ten entered her life. Now she wants to be with him and to be a songwriter for Mona Stone, but she can’t have both. And picking one means losing the other.
Fighting for justice in America is a struggle for a lifetime. It is not just a struggle for a moment, a day, a month, a year. A moral voice must be heard for the quest for equality and must be relevant to an entire new generation of Americans - Black, White, Asians, Latinos and Native Americans. There is no such thing as perfection for all situations because the challenges are too great. Many unforeseen things are coming, but with the Creator's help, we will prevail, we will not fail. Our Creator has given us air to breathe, love, and substance to live by and our very existence is a gift. Our talents are based on our faith and willingness to let God's power work in us. We must made a concerted effort to value each other as we all have the Creator's finger print on us. We are a community, a nation, America!
There is something within us that lets us know that there is a God somewhere. I have walked and talked with many people in my lifetime who came from small humble beginnings and made a tremendous life change for themselves and their families. Some of us were born in a shack. There were no zip codes and no area codes in those days. Yet where we were born and where we lived mattered then and matters now. Sometimes life presents us with difficulties and hardships. From time to time, an individual has to look back and ponder from whence he or she has come. More importantly, no matter what happens in our lives, individually or collectively, God will be there with us always. All we have to do is heed his call and follow him.
In Olivia Worley's pitch-perfect debut, People to Follow, ten teen influencers come to a remote island to star in a reality show, but when one of them winds up dead, they realize that this time, the price of getting “cancelled” could be their lives. A reality show on a remote Caribbean island. Ten teen influencers. One dead body. Welcome to “In Real Life,” the hot new reality show that forces social media’s reigning kings and queens to unplug for three weeks and “go live” without any filters. IRL is supposed to be the opportunity of a lifetime, watched closely by legions of loyal followers. But for these rising stars--including Elody, an Instagram model with an impulsive streak; Kira, a child star turned fitness influencer; Logan, a disgraced TikTok celeb with a secret; and Max, a YouTuber famous for exposés on his fellow creators--it’s about to turn into a nightmare. When the production crew fails to show up and one of their own meets a violent end, these social media moguls find themselves stranded with a dead body and no way to reach the outside world. When they start receiving messages from a mysterious Sponsor threatening to expose their darkest secrets, they realize that they’ve been lured into a deadly game...and one of them might be pulling the strings. With the body count rising and cameras tracking their every move, the creators must figure out who is trying to get them canceled--like, literally--before their #1 follower strikes again.
“Olivia Clare is pure literary dynamite . . . [She] writes with Carveresque clarity and bite and an elegance all her own. A bravura debut.” —Janet Fitch, #1 New York Times–bestselling author of White Oleander Olivia Clare’s delightfully strange and tender debut collection traces the impact of larger-than-life forces on everyday people. From siblings whose relationship is as fragile as glass, to a woman grappling with both an emotional and physical drought, to a superstitious spouse fearful of misfortune, Disasters in the First World explores the real and the imagined, environmental and man-made calamities, and the human need to comprehend the unknown. “These insightful stories . . . flout convention and work in mysterious ways. Two in particular—‘Pétur’ and ‘The Visigoths’—will probably be anthologized and taught and cherished for years to come. They’re so well crafted . . . [they] flicker with moments of rare insight and nuance . . . makes me want to pick up whatever Clare publishes next.” —Andrew Ervin, The New York Times Book Review “Lyrical and elegiac . . . Clare’s writing sparkles with unexpected word choice . . . Her stories unfold in wonderfully astonishing turns . . . Tender yet occasionally biting, Disasters in the First World ekes narrative poetry out of tragedy . . . Clare writes compassionately and unflinchingly about mental suffering.” —Shelf Awareness “Olivia Clare’s debut collection will surprise you with its poetic weirdness, its dark confidence. The ‘disasters’ in these stories are tragically indefinite, fissures in the lives of the characters, whom Clare brings to life with humor, wisdom, and brutal honesty.” —Vu Tran, author of Dragonfish
The Handbook of Research on the Education of Young Children, Second Edition is an essential reference on research in early childhood education not only in the United States but throughout the world. It provides a comprehensive overview of important contemporary issues and the information necessary to make judgments about these issues. The field has changed significantly since the publication of the first edition of this Handbook in 1993, creating a need for an update. The Handbook of Research on the Education of Young Children, Second Edition is thus focused on research conducted over the past decade or so. The volume is organized in four parts: *Early Childhood Education and Child Development. New in this edition: moral development; the development of creativity. *Early Childhood Educational Curriculum. New in this edition: movement or dance education; the education of linguistically and culturally diverse children. *Foundations of Early Childhood Educational Policy. New in this edition: childhood poverty; the education of bilingual children. *Research and Evaluation Strategies for Early Childhood Education. New in this edition: doing historical research in early childhood education; postmodern and feminist orientations. The Handbook of Research on the Education of Young Children, Second Edition makes the expanding knowledge base related to early childhood education readily available and accessible. It is a valuable tool for all who work and study in the field.
IT HAS BEEN ESTABLISHED that African Americans have been and are still being subjected to marginalized and harsh treatment today in America. We came to the Americas a million years ago and helped build this wilderness country. It is incumbent upon us as a nation to come to grips with the humanness of all people and treat each other with respect and love, acknowledging each other’s skills, talents and achievements. We are a strong nation of people. Let’s not allow the weak, racial prejudicial side of us to rule us. We can only move forward if we have a collective truthful and faithful heart. There is something inherent in all of us that should not be stifled or extinguished. We are all put on earth for a specific purpose. All generations should be given an opportunity to be what we can be as our Creator ordained it.
Deliah Sampson is pure seduction, her feminine charms wrapped in an aura of dangerous mystery. Reverend Matthew Peters should know better than to get involved, but how could he ignore a woman obviously in trouble--or deny himself a taste of fierce passion?
Theatre of Anger examines contemporary transnational theatre in Berlin through the political scope of anger, and its trajectory from Aristotle all the way to Audre Lorde and bell hooks.
Through a study of the contemporary German film movement the Berlin School, Olivia Landry examines how narrative film has responded to our highly digitalized and mediatized age, not with a focus on stasis and realism, but by turning back to movement, spectacle, and performance. She argues that a preoccupation with presence, liveness, and affect—all of which are viewed as critical components of live performance—can be found in many of the films of the Berlin School. Challenging the perception that the Berlin School is a sheer adherent of "slow cinema," Landry closely analyzes the use of movement, dynamism, presence, and speed in a broad selection of films to show how filmmakers such as Christian Petzold, Angela Schanelec, Thomas Arslan, and Christoph Hochhäusler invoke the pulse of the kinesthetic and the tangibly affective. Her analysis draws on an array of film theories from early materialism to body theories, phenomenology, and contemporary affect theories. Arguing that these theories readily and energetically forge a path from film to performance, Landry traces a trajectory between the two through which live experience, presence, spectacle, intersubjectivity, and the body in motion emerge and powerfully intersect. Ultimately, Movement and Performance in Berlin School Cinema expands the methodological and disciplinary boundaries of film studies by offering new ways of articulating and understanding movement in cinema.
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