Many modern playwrights have dramatized the process of theatrical creation within their plays. In doing so, they have disregarded the "do not disturb" sign on the rehearsal room door, and have opened the art of theater to a particular kind of scrutiny. This scrutiny is unusual given the long-standing tradition of secrecy that surrounds theatrical rehearsal. Viewing modern drama generally as a drama that juxtaposes authority and freedom, and viewing contemporary criticism as essentially an extended debate on the issue of meaning's closure, this study invokes the critical perspectives M. M. Bakhtin, Roland Barthes, and Bertolt Brecht to create a general theory of rehearsal practice that differentiates it from the practice of performance. Working with notions of textual authority explored in a variety of critical contexts, this volume attempts to explore the theoretical ramifications of metatheatrical representations of rehearsal.
The dramas of Eugene O'Neill--often called America's first "serious" playwright--exhibit an imagining of the natural world that enlivens the plays and marks the boundaries of the characters' fates. O'Neill's figures move within purposefully animated natural environments--ocean, dense forest, desert plains, the rocky soil of New England. This new approach to O'Neill's dramas explores these ecological settings as crucial to his characters' ability to carry out their conscious and unconscious desires. O'Neill's career is covered, from his youthful one-acts, to the middle years experimental dramas, to the mature tragedies of his late period. Special attention is paid to the connection of ecology and theological quest, and to O'Neill's persistent evocation of an exotic, natural "other." Combining an ecocritical approach with an examination of Classical and philosophical influences on the playwright's creative process, the author reveals a new, less hermetic O'Neill.
This book offers the first in-depth intellectual and cultural history of British subversive propaganda during the Second World War. Focussing on the Political Warfare Executive (PWE), it tells the story of British efforts to undermine German morale and promote resistance against Nazi hegemony. Staffed by civil servants, journalists, academics and anti-fascist European exiles, PWE oversaw the BBC European Service alongside more than forty unique clandestine radio stations; they maintained a prolific outpouring of subversive leaflets and other printed propaganda; and they trained secret agents in psychological warfare. British policy during the occupation of Germany stemmed in part from the wartime insights and experiences of these propagandists. Rather than analyse military strategy or tactics, British Subversive Propaganda during the Second World War draws on a wealth of archival material from collections in Germany and Britain to develop a critical genealogy of British ideas about Germany and National Socialism. British propagandists invoked discourses around history, morality, psychology, sexuality and religion in order to conceive of an audience susceptible to morale subversion. Revealing much about the contours of mid-century European thought and the origins of our own heavily propagandised world, this book provides unique insights for anyone researching British history, the Second World War, or the fight against fascism.
The Federal Reserve—the central bank of the United States—is the most powerful peacetime bureaucracy in the federal government. Under the chairmanship of Alan Greenspan (1987-2006), the Fed achieved near mythical status for its part in managing the economy, and Greenspan was lauded as a genius. Few seemed to notice or care that Fed officials operated secretly with almost no public accountability. There was a courageous exception to this lack of oversight, however: Henry B. Gonzalez (D-TX)—chairman of the U.S. House of Representatives Financial Services (banking) Committee. In Deception and Abuse at the Fed, Robert Auerbach, a former banking committee investigator, recounts major instances of Fed mismanagement and abuse of power that were exposed by Rep. Gonzalez, including: Blocking Congress and the public from holding powerful Fed officials accountable by falsely declaring—for 17 years—it had no transcripts of its meetings; Manipulating the stock and bond markets in 1994 under cover of a preemptive strike against inflation; Allowing $5.5 billion to be sent to Saddam Hussein from a small Atlanta branch of a foreign bank—the result of faulty bank examination practices by the Fed; Stonewalling Congressional investigations and misleading the Washington Post about the $6,300 found on the Watergate burglars. Auerbach provides documentation of these and other abuses at the Fed, which confirms Rep. Gonzalez's belief that no government agency should be allowed to operate with the secrecy and independence in which the Federal Reserve has shrouded itself. Auerbach concludes with recommendations for specific, broad-ranging reforms that will make the Fed accountable to the government and the people of the United States.
First published in 1955, A History of the Scottish Miners recounts the peculiar circumstances of the seventeenth and eighteenth centuries, and the laws that placed the miners under conditions unique in Europe. Carrying onto the nineteenth century, the author deals with the first trade unions, the period of Alexander McDonald and Keir Hardie, ending in the great strike of 1894 and the formation of the Scottish Miners’ Federation, embracing eight county associations. From 1894 onwards, Robert Smillie led the Scots in good times and bad, up to the ordeal of the First World War. The effect in Scotland of the great lockouts of 1921 and 1926, with Robert Smillie no longer chairman of the British miners but still the leader in Scotland, is set out in detail. Then after a time of troubles, the Scots miners developed their organisations during the war and, before its end, under new leaders, they achieved a single union for Scotland. This book will be of interest to students of history, sociology, economics and political science.
Drawing on original research and firsthand interviews, Conversations with Terrorists offers critical portraits of six Middle Eastern leaders often labeled as terrorists: Syrian president Bashar Al-Assad, Hamas top leader Khaled Meshal, Israeli politician Geula Cohen, Iranian Revolutionary Guard founder Mohsen Sazargara, Hezbollah spiritual advisor Grand Ayatollah Mohammed Fadlallah, and former Afghan Radio and Television Ministry head Malamo Nazamy. Veteran journalist Reese Erlich offers them a chance to explain key issues and to respond to charges leveled by the United States. Critiquing these responses and synthesizing a broad range of material, Erlich shows that yesterday’s terrorist is today’s national leader, and that today’s freedom fighter may become tomorrow’s terrorist. He concludes that the global war on terror has diverted public attention from the war’s real goal—expanding U.S. influence and interests in the Middle East—and offers policy remedies.
Those who read this romance for the sake of what history it may contain will find the histories from which I have helped myself more profitable. Those antiquarians who hunt their hobbies through books had best drop the trail of this book at the preface, for they will draw but a blank covert in these pages. Better for the antiquarian that he seek the mansion of Sir William Johnson, which is still standing in Johnstown, New York, and see with his own eyes the hatchet-scars in the solid mahogany banisters where Thayendanegea hacked out polished chips. It would doubtless prove more profitable for the antiquarian to thumb those hatchet-marks than these pages. But there be some simple folk who read romance for its own useless sake. To such quiet minds, innocent and disinterested, I have some little confidences to impart: There are still trout in the Kennyetto; the wild ducks still splash on the Vlaie, where Sir William awoke the echoes with his flintlock; the spot where his hunting-box stood is still called Summer-House Point; and huge pike in golden-green chain-mail still haunt the dark depths of the Vlaie water, even on this fair April day in the year of our Lord 1900.
In this first book of interviews with visual artists from across Texas, more than sixty artists reflect on topics from formative influences and inspirations to their common engagement with found materials. Beyond the art itself, no source is more primary to understanding art and artist than the artist’s own words. After all, who can speak with more authority about the artist’s influences, motivations, methods, philosophies, and creations? Since 2010, Robert Craig Bunch has interviewed sixty-four of Texas’ finest artists, who have responded with honesty, clarity, and—naturally—great insight into their own work. None of these interviews has been previously published, even in part. Incorporating a striking, full-color illustration of each artist’s work, these absorbing self-examinations will stand collectively as a reference of lasting value.
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