Seminar paper from the year 2011 in the subject American Studies - Literature, grade: 1,3, University of Würzburg (Philosophische Fakultät I), course: Race, Gender and Identity in Postmodern American Theater, language: English, abstract: How are Kushner ́s characters in "Angels in America" dealing with the new challenges in the changing postmodern world of the 1980s? Which position does the play take towards the ambivalence of progress? These questions are now to be analysed in the following term paper. Therefore the two positions contra and pro progress are closely examined and carefully weighed up against each other. Not to go beyond the scope of this term paper, only the main points of the notion of progress in "Angels in America" are worked out and exemplary substantiated. "[Y]our ambivalent about everything", Belize characterizes Louis suitably in one of their discussions about politics and society. As this quotation is linked to one character of Tony Kushner ́s "Angels in America", which consists of the two books called "Millenium Approaches" and "Perestroika", one could surely transfer this statement to the whole play. Ambivalence plays a main role within the drama and consequently throws up many significant questions. One of them deals with the notion of progress. Kushner takes up the theme of progress and throws light on its ambivalent character. Progress, especially in today ́s postmodern era, can be connected to something positive, considering the amount of knowledge and new technologies, which make life easier. Moreover personal progress implies strive for improvement, which is inherent in every human being. Nevertheless a progressing world is a world in which things are getting faster and often uncontrollable. Traditions and old values die, while individualisation and isolation grow, which leads to the rise of uncertainty.
Seminar paper from the year 2010 in the subject Art - Overall Considerations, grade: 1,0, University of Würzburg (Philosophische Fakultät I), course: SHAKESPEARE ́S HAMLET & OUR HAMLET, language: English, abstract: As long as Shakespeare ́s Hamlet exists, people are fascinated by the young woman Ophelia and her fate. She is a woman who leads a life which is dominated by men and their influence on her. Especially the network of intrigues, but also her helplessness and the being at someone’s mercy reduce Ophelia to despair. Her struggle ends with a mysterious death by drowning, which is to be analyzed in this assignment. This will be done by comparing the original passage from the Queen ́s description of Ophelia ́s death with the painting Ophelia by John Everett Millais. During her description the Queen mythologises Ophelia ́s death by using special words or pictures. So the question arises in how far Millais translated these words and pictures into his painting and whether his painting exaggerates or decreases the mythology and symbolic Shakespeare used. To be able to answer this question, similarities and differences between the description of Ophelia ́s death and the painting Ophelia by Millais are analysed. To lead to these two scenes of Ophelia ́s death and to get deeper into the comparison, it is reasonable to start with an analysis of Ophelia ́s position in the play, as well as an analysis of the background of Millais ́s Ophelia.
Seminar paper from the year 2012 in the subject Politics - International Politics - Region: USA, grade: 1,3, University of Würzburg (Institut für Politikwissenschaft und Sozialforschung), course: American Government, language: English, abstract: In his article “Presidential Power and Congressional Acquiescence in the ‘War’ on Terrorism: A New Constitutional Equilibrium?” John E. Owens of the University of Westminster suggests the existence of a new constitutional equilibrium between the President and Congress in America. He builds his thesis on Burnham’s punctuated equilibrium theory and analyzes Bush’s policy and his war on terrorism. In this essay I will explain the main thesis of the punctuated equilibrium theory at first, to build on that basis the critical analysis whether the system of Checks and Balances in the United States is or has been out of work and whether we can truly speak of a change of system. This will be checked by analysing the constitution, the role of the Congress and the presidency of George W. Bush. In a second part of this essay I will take up the punctuated equilibrium theory again and explain that the equilibrium of the American system has been punctuated but it was not pushed on a new level, but levelled off again on the old equilibrium and re-established the system of Checks and Balances.
Seminar paper from the year 2014 in the subject Cultural Studies - Miscellaneous, grade: 1,0, University of Würzburg (Philosophische Fakultät I), course: Feminism in the U.S.: History, Ideas, and Politics, language: English, abstract: Bewitched by the magical atmosphere these films create, millions of girls are dreaming of becoming a Disney princess one day. Seeing girls and boys re-enact these fairy tales and in that way slip into the role of a princess the thought struck me in the context of my seminar about Feminism, in what way these movies influence children. Which concepts of womanhood do they foster and are these fairy tales really as timeless as the grandparents think they are? Taking a closer look at the most successful and best known of all Disney princess movies, there are basically three waves, defined by their date of release. The first feature-length animated film Disney created was a story based on the Brother Grimm fairy tale “Schneewittchen”. The Disney movie Snow White and the Seven Dwarfs was premiered in 1937 and was an instant success, followed by Cinderella in 1950 and Sleeping Beauty in 1959. The next wave of princess movies were produced between 1989, starting with Little Mermaid, followed by Beauty and the Best (1991), Aladdin (1992), Pocahontas (1995) and ending in 1998 with Mulan, so basically during the 1990s. The latest wave of Disney princess films is from 2009 on with The Princess and the Frog, then Tangled (2010), Brave (2012) and the last one was Frozen (2013). This is an enormous timeframe. The 1930s, 40s and 50s provided a completely different audience than the 1990s or the current decade, as society and especially gender roles changed a lot over time. Consequently one can also expect differences in the way the Walt Disney Company chose to depict its characters over the years. This research paper will show that female gender roles in Disney princess movies respond to the change of society by portraying their Disney heroine much more assertive and less passive over time. To support this thesis one movie from each of the three waves which were introduced above will be analyzed exemplary for the period.
Seminar paper from the year 2011 in the subject English Language and Literature Studies - Linguistics, grade: 1,3, University of Würzburg (PHILOSOPHISCHE FAKULTÄT I), course: Varieties of English, language: English, abstract: Looking at the English language in Australia with its short history of 200 years, the question arises whether Australian English can already be seen as a variety on its own right. To find a competent answer to this question one has to consider the linguistic development of the language as well as the concrete linguistic features which occur in this variety. The linguistic development is intimately connected with the historical background of a country. Thus in a first part of this term paper a short overview on the history of Australia is given to build the fundament for the following analysis of the linguistic development of the English language in Australia. Then the concrete linguistic features are evaluated and applied in the practical part of this term paper. So, as a last step, the question, whether Australian English has the status of being a variety on its own right, can be answered.
A groundbreaking exposé and diagnosis of the silent epidemic of fear afflicting new mothers, and a candid, feminist deep dive into the culture, science, history, and psychology of contemporary motherhood Anxiety among mothers is a growing but largely unrecognized crisis. In the transition to motherhood and the years that follow, countless women suffer from overwhelming feelings of fear, grief, and obsession that do not fit neatly within the outmoded category of “postpartum depression.” These women soon discover that there is precious little support or time for their care, even as expectations about what mothers should do and be continue to rise. Many struggle to distinguish normal worry from crippling madness in a culture in which their anxiety is often ignored, normalized, or, most dangerously, seen as taboo. Drawing on extensive research, numerous interviews, and the raw particulars of her own experience with anxiety, writer and mother Sarah Menkedick gives us a comprehensive examination of the biology, psychology, history, and societal conditions surrounding the crushing and life-limiting fear that has become the norm for so many. Woven into the stories of women’s lives is an examination of the factors—such as the changing structure of the maternal brain, the ethically problematic ways risk is construed during pregnancy, and the marginalization of motherhood as an identity—that explore how motherhood came to be an experience so dominated by anxiety, and how mothers might reclaim it. Writing with profound empathy, visceral honesty, and deep understanding, Menkedick makes clear how critically we need to expand our awareness of, compassion for, and care for women’s lives.
Bodies and their role in cultural discourse have been a constant focus in the humanities and social sciences in recent years, but comparatively few studies exist about Old Norse-Icelandic or early Irish literature. This study aims to redress this imbalance and presents carefully contextualised close readings of medieval texts. The chapters focus on the role of bodies in mediality discourse in various contexts: that of identity in relation to ideas about self and other, of inscribed and marked skin and of natural bodily matters such as defecation, urination and menstruation. By carefully discussing the sources in their cultural contexts, it becomes apparent that medieval Scandinavian and early Irish texts present their very own ideas about bodies and their role in structuring the narrated worlds of the texts. The study presents one of the first systematic examinations of bodies in these two literary traditions in terms of body criticism and emphasises the ingenuity and complexity of medieval texts.
Affective meditation on the Passion was one of the most popular literary genres of the high and later Middle Ages. Proliferating in a rich variety of forms, these lyrical, impassioned, script-like texts in Latin and the vernacular had a deceptively simple goal: to teach their readers how to feel. They were thus instrumental in shaping and sustaining the wide-scale shift in medieval Christian sensibility from fear of God to compassion for the suffering Christ. Affective Meditation and the Invention of Medieval Compassion advances a new narrative for this broad cultural change and the meditative writings that both generated and reflected it. Sarah McNamer locates women as agents in the creation of the earliest and most influential texts in the genre, from John of Fécamp's Libellus to the Meditationes Vitae Christi, thus challenging current paradigms that cast the compassionate affective mode as Anselmian or Franciscan in origin. The early development of the genre in women's practices had a powerful and lasting legacy. With special attention to Middle English texts, including Nicholas Love's Mirror and a wide range of Passion lyrics and laments, Affective Meditation and the Invention of Medieval Compassion illuminates how these scripts for the performance of prayer served to construct compassion itself as an intimate and feminine emotion. To feel compassion for Christ, in the private drama of the heart that these texts stage, was to feel like a woman. This was an assumption about emotion that proved historically consequential, McNamer demonstrates, as she traces some of its legal, ethical, and social functions in late medieval England.
The Guest Editors created a unique focus to the general topic of infectious diseases. They have focused on contemporary management of antibiotics used for procedures and infections. Articles are devoted to: Update on Antibiotic Prophylaxis for GU Procedures in Patients with Arificial Joint Replacement and Artifical Heart Valves; Asymptomatic Bacteriuria; Urinary Tract Infection and Bacteruria in Pregnancy; Resistance Patterns in Contemporary Antibiotics: ESBL and Beyond ; UTI and Neurogenic Bladder; Modern Guidelines for Skin and Bowel Prep for Open and Laparascopic GU Surgery; Work up of Pediatric Urinary Tract Infection; Pre Prostate Biopsy Rectal Culture and Post Biopsy Sepsis; Infection with Foreign Bodies: Mesh and Prostheses; Treatment of the Infected Stone; Sexually Transmitted Infections: Updated Guidelines and Treatment; Bacteruria/UTI in the Elderly; Treatement of Fungal Urinary Tract Infection; and STDs.
Early Welsh and Old English poetry are rarely spoken of together, but when they are, they have been described as like or different from one another. Sarah Higley breaks this cycle of mutual marginalization by examining what it means to read otherness or sameness into a text, concluding that too much of our reading is "anglo-centric" in its expectations and dictated by invisible ideological agendas. Examinations of the Llywarch Hen Corpus, for instance, have sought comparisons among the Old English elegies, but mainly for the purpose of demonstrating how the Welsh are of a color with them: derived from the same penitential genre merely less explicit in their penitential thrust. Scholars have been reluctant to acknowledge the secular nature of these Welsh laments, which are discomfitingly silent about divine solace and which, like the Old English poems, do not cooperate with our efforts to categorize them. The author reexamines notions of genre, category, and poetic "explicitness" and how they snare us. Higley sees the English and Welsh traditions as foils to one another rather than as template and variation, and she starts with the connection of natural image and emotion, employed differently in these two contiguous but separate traditions. She shows how the English poems, long thought to be disjointed and cryptic, are invested in explanation and disclosure to a degree that the Welsh are not. The Welsh "omissions" might be better understood as dynamic juxtapositions wherein other poetic aspects (metrics, imagery, context) serve to link ideas, perhaps even to disrupt them. She sees difficulty, ambiguity, and dialogism as loci of power - neither accidents of our reading distance nor defects in other classical standards of wholeness. Reading the English and the Welsh together with a respect for the mutual differences helps us to get beyond some of the cliche's about what is English and "familiar" and what is Celtic and "other." Her argument revolves around the plight of the lone human as he or she is depicted in these texts in a precarious state of connection with the rest of the world: caught between society and wilderness, inside and outside, sacred and secular, meaning and nonmeaning. This focus on connection informs the title as well: "between languages" expresses our position as readers reading two different cultures together, reading ancient literature mediated through modern poetic theory, and the position of medieval scholarship in its struggle between traditional and postmodern approaches. Between Languages brings obscure and moving poems into a wider academic orbit, offering new editions and translations of Old English and Early Welsh elegies, wisdom poems, and enigmata, including one of the few complete English translations in this century of a vatic text from The Book of Taliesin.
The first biography of David Garnett goes beyond stereotype and myth and presents a clear sighted account of this often contradictory figure at the centre of literary London in the era of the Bloomsbury Group. Shortlisted for the James Tait Black Prize for best biography 2016 Book of the Year 2015 Sunday Times Book of the Year 2015 Times Literary Supplement Book of the Year 2015 Evening Standard Book of the Year 2015 New Zealand Listener Shortlisted for the Slightly Foxed Best First Biography Prize 2015 Literary Sensation, Lover, Libertine, Family Man Award-winning novelist and towering figure of the 20th century British literary landscape, David Garnett was a Bloomsbury insider ultimately pushed to the margins. In this, the first biography of Garnett, (known as Bunny), author Sarah Knights – who has had unprecedented access to Garnett's papers – goes beyond stereotype and myth to present a clear sighted account of this often contradictory figure. Trained as a scientist, Garnett worked as a novelist and wrote exquisite prose. Lady into Fox was made into a Rambert ballet and Aspects of Love into an Andrew Lloyd Webber musical. In the First World War, he was a conscientious objector whereas in the Second he worked for British intelligence. A free love enthusiast, he nevertheless married. He loathed literary criticism but became a leading literary critic. Born into the Victorian period, Garnett's life spanned two World Wars, the Swinging Sixties and beyond. From pre-Revolutionary Russia, by way of Indian Nationalists in London and carefree Neo-Paganism, Garnett's early life was packed with adventure. Propelled by a desire to be constantly in love, he dazzled men and women, believing the person mattered, irrespective of gender. An overnight literary sensation in the 1920s he was at the centre of literary London. Confidante and mentor of many writers, T. E. Lawrence, Rupert Brooke, D. H. Lawrence, Joseph Conrad and H. G. Wells, were among his friends. Garnett felt most at home with the Bloomsbury Group, in particular with Vanessa Bell and Duncan Grant, his lover, with whom he lived during the First World War. Their long friendship was threatened, however, when Garnett's cradle-side prophecy to marry their daughter Angelica came true. David 'Bunny' Garnett is brought to life by Ben Lloyd-Hughes and Jack Davenport in the BBC series 'Life in Squares'.
Principles of Addiction Medicine, 7th ed is a fully reimagined resource, integrating the latest advancements and research in addiction treatment. Prepared for physicians in internal medicine, psychiatry, and nearly every medical specialty, the 7th edition is the most comprehensive publication in addiction medicine. It offers detailed information to help physicians navigate addiction treatment for all patients, not just those seeking treatment for SUDs. Published by the American Society of Addiction Medicine and edited by Shannon C. Miller, MD, Richard N. Rosenthal, MD, Sharon Levy, MD, Andrew J. Saxon, MD, Jeanette M. Tetrault, MD, and Sarah E. Wakeman, MD, this edition is a testament to the collective experience and wisdom of 350 medical, research, and public health experts in the field. The exhaustive content, now in vibrant full color, bridges science and medicine and offers new insights and advancements for evidence-based treatment of SUDs. This foundational textbook for medical students, residents, and addiction medicine/addiction psychiatry fellows, medical libraires and institution, also serves as a comprehensive reference for everyday clinical practice and policymaking. Physicians, mental health practitioners, NP, PAs, or public officials who need reference material to recognize and treat substance use disorders will find this an invaluable addition to their professional libraries.
In Uprooting the Diaspora, Sarah Cramsey explores how the Jewish citizens rooted in interwar Poland and Czechoslovakia became the ideal citizenry for a post–World War II Jewish state in the Middle East. She asks, how did new interpretations of Jewish belonging emerge and gain support amongst Jewish and non-Jewish decision makers exiled from wartime east central Europe and the powerbrokers surrounding them? Usually, the creation of the State of Israel is cast as a story that begins with Herzl and is brought to fulfillment by the Holocaust. To reframe this trajectory, Cramsey draws on a vast array of historical sources to examine what she calls a "transnational conversation" carried out by a small but influential coterie of Allied statesmen, diplomats in international organizations, and Jewish leaders who decided that the overall disentangling of populations in postwar east central Europe demanded the simultaneous intellectual and logistical embrace of a Jewish homeland in Palestine as a territorial nationalist project. Uprooting the Diaspora slows down the chronology between 1936 and 1946 to show how individuals once invested in multi-ethnic visions of diasporic Jewishness within east central Europe came to define Jewishness primarily in ethnic terms. This revolution in thinking about Jewish belonging combined with a sweeping change in international norms related to population transfers and accelerated, deliberate postwar work on the ground in the region to further uproot Czechoslovak and Polish Jews from their prewar homes.
Grounded in extensive research and clinical experience, this book describes how to adapt mindfulness-based cognitive therapy (MBCT) for participants who struggle with recurrent suicidal thoughts and impulses. Clinicians and mindfulness teachers are presented with a comprehensive framework for understanding suicidality and its underlying vulnerabilities. The preliminary intake interview and each of the eight group mindfulness sessions of MBCT are discussed in detail, highlighting issues that need to be taken into account with highly vulnerable people. Assessment guidelines are provided and strategies for safely teaching core mindfulness practices are illustrated with extensive case examples. The book also discusses how to develop the required mindfulness teacher skills and competencies. Purchasers get access to a companion website featuring downloadable audio recordings of the guided mindfulness practices, narrated by Zindel Segal, Mark Williams, and John Teasdale. (Published in hardcover as Mindfulness and the Transformation of Despair: Working with People at Risk of Suicide.) See also Mindfulness-Based Cognitive Therapy for Depression, Second Edition, by Zindel Segal, Mark Williams, and John Teasdale, the authoritative presentation of MBCT.
This pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siècle.
The greatest public health victories of the last century -- public sanitation, vehicle safety measures, limits on smoking and tobacco use -- have all been facilitated by public policies. While policy is an unparalleled tool for effecting change in public health, most professionals are unprepared to plan, apply, or study policy in a consequential way. Prevention, Policy, and Public Health provides a basic foundation for students, professionals, and researchers to be more effective in the policy arena. It offers information on the dynamics of the policymaking process, theoretical frameworks, analysis, and policy applications. It also offers tools for advocacy and communication, two integral aspects of shaping policies for public health. Organized around the leading risk factors for premature death and supplemented with illustrative case study examples, this book will help professionals and researchers understand the dimensions of policy, which can in turn inform the conduct of research and evaluation. These skills, combined with an understanding of opportunities and limitations within governments, can be highly applicable to designing effective policies and programs. With current pressures to implement broad and sustainable public health improvements, policies are more important than ever for anyone in the study and practice of public health. This book can be considered a primer to truly understanding the connection between prevention, policy, and public health.
In 1664, French Jesuit Louis Nicolas arrived in Quebec. Upon first hearing Ojibwe, Nicolas observed that he had encountered the most barbaric language in the world--but after listening to and studying approximately fifteen Algonquian languages over a ten-year period, he wrote that he had "discovered all of the secrets of the most beautiful languages in the universe." Unscripted America is a study of how colonists in North America struggled to understand, translate, and interpret Native American languages, and the significance of these languages for theological and cosmological issues such as the origins of Amerindian populations, their relationship to Eurasian and Biblical peoples, and the origins of language itself. Through a close analysis of previously overlooked texts, Unscripted America places American Indian languages within transatlantic intellectual history, while also demonstrating how American letters emerged in the 1810s through 1830s via a complex and hitherto unexplored engagement with the legacies and aesthetic possibilities of indigenous words. Unscripted America contends that what scholars have more traditionally understood through the Romantic ideology of the noble savage, a vessel of antiquity among dying populations, was in fact a palimpsest of still-living indigenous populations whose presence in American literature remains traceable through words. By examining the foundation of the literary nation through language, writing, and literacy, Unscripted America revisits common conceptions regarding "early america" and its origins to demonstrate how the understanding of America developed out of a steadfast connection to American Indians, both past and present.
Shakespeare lived at a time when England was undergoing the revolution in ritual theory and practice we know as the English Reformation. With it came an unprecedented transformation in the language of religious life. Whereas priests had once acted as mediators between God and men through sacramental rites, Reformed theology declared the priesthood of all believers. What ensued was not the tidy replacement of one doctrine by another but a long and messy conversation about the conventions of religious life and practice. In this brilliant and strikingly original book, Sarah Beckwith traces the fortunes of this conversation in Shakespeare’s theater. Beckwith focuses on the sacrament of penance, which in the Middle Ages stood as the very basis of Christian community and human relations. With the elimination of this sacrament, the words of penance and repentance—"confess," "forgive," "absolve" —no longer meant (no longer could mean) what they once did. In tracing the changing speech patterns of confession and absolution, both in Shakespeare’s work and Elizabethan and Jacobean culture more broadly, Beckwith reveals Shakespeare’s profound understanding of the importance of language as the fragile basis of our relations with others. In particular, she shows that the post-tragic plays, especially Pericles, Cymbeline, The Winter’s Tale, and The Tempest, are explorations of the new regimes and communities of forgiveness. Drawing on the work of J. L. Austin, Ludwig Wittgenstein, and Stanley Cavell, Beckwith enables us to see these plays in an entirely new light, skillfully guiding us through some of the deepest questions that Shakespeare poses to his audiences.
This original book is a much needed and far reaching exploration of post-apartheid South African life worlds. Entanglement aims to capture the contradictory mixture of innovation and inertia, of loss, violence and xenophobia as well as experimentation and desegregation, which characterises the present. The author explores the concept of entanglement in relation to readings of literature, new media forms and painting. In the process, she moves away from a persistent apartheid optic, drawing on ideas of sameness and difference, and their limits, in order to elicit ways of living and imagining that are just starting to take shape and for which we might not yet have a name. In the background of her investigations lies a preoccupation with a future-oriented politics, one that builds on largely unexplored terrains of mutuality while being attentive to a historical experience of confrontation and injury.
The third edition of Managing Employee Performance and Reward: Systems, Practices and Prospects has been thoroughly revised and updated by a new four-member author team. The text introduces a new conceptual framework based on systems thinking and a dual model of strategic alignment and psychological engagement. Coverage of chapter topics provides a balance between research evidence and practice and, in this new edition, is enhanced with a more applied and technical approach. The text also includes chapters dedicated to conceptual framing, base pay and individual recognition and reward; 'reality check' breakout boxes with practical examples and current problems on each of strategic alignment, employee engagement, organisation justice and workforce diversity; and a new chapter exploring new horizons in performance and reward practice and research with a focus on the mega-trends of technological transformation under 'Industry 4.0', new economic forms and relationships arising from the 'gig' economy, and generational change.
Thirteen-year-old Eli likes baggy clothes, baseball caps, and one girl in particular. Her seventeen-year-old sister Anna is more traditionally feminine; she loves boys and staying out late. They are sisters, and they are also the only family each can count on. Their dad has long been out of the picture, and their mom lives at the mercy of her next drink. When their mom lands herself in enforced rehab, Anna and Eli are left to fend for themselves. With no legal guardian to keep them out of foster care, they take matters into their own hands: Anna masquerades as Aunt Lisa, and together she and Eli hoard whatever money they can find. But their plans begin to unravel as quickly as they were made, and they are always way too close to getting caught. Eli and Anna have each gotten used to telling lies as a means of survival, but as they navigate a world without their mother, they must learn how to accept help, and let other people in.
Every known society wears some form of clothing. It is central to how we experience our bodies and how we understand the sociocultural dimensions of our embodiment. It is also central to how we understand works of literature. In this innovative study, Brazil demonstrates how medieval writers use clothing to direct readers’ and spectators’ awareness to forms of embodiment. Offering insights into how poetic works, plays, and devotional treatises target readers’ kinesic intelligence—their ability to understand movements and gestures—Brazil demonstrates the theological implications of clothing, often evinced by how garments limit or facilitate the movements and postures of bodies in narratives. By bringing recent studies in the field of embodied cognition to bear on narrated and dramatized interactions between dress and body, this book offers new methodological tools to the study of clothing.
In Signifying God, Sarah Beckwith explores the most lavish, long-lasting, and complex form of collective theatrical enterprise in English history: the York Corpus Christi plays. First staged as early as 1376, the plays were performed annually until the late 1500s and involved as much as a tenth of the city in multiple performances at a dozen or more locations. Introducing a radical new understanding of these plays as "sacramental theater," Beckwith shows how organizing the plays served as a political mechanism for regulating labor, and how theater and sacrament combined in them to do important theological work. She argues, for instance, that the theology of Corpus Christi in the resurrection plays can only be understood as a theatrical exploration of eucharistic absence and presence. Beckwith frames her study with discussions of twentieth-century manifestations of sacramental theater in Barry Unsworth's novel Morality Play and Denys Arcand's film Jesus of Montreal, and the connections between contemporary revivals of the York Corpus Christi plays and England's heritage culture.
This dynamic volume illustrates the expanded notion of "political" that has evolved as a result of the women's movement. Rich in analysis and description, the chapters offer clear-cut policy proposals and new conceptualizations of organizational frameworks and concepts that have consequence for the lives of women and men in such areas as the staging of careers, the division of labor in family and professional settings, and nepotism. Contributors focus on the interconnections between traditional political behavior and the larger social context in which it is played out. The Politics of Professionalism, Opportunity, Employment, and Gender presents a current and realistic picture of the complexity of the political processes and a better sense of the less obvious elements that determine the political process.
In Beastly Possessions, Sarah Amato chronicles the unusual ways in which Victorians of every social class brought animals into their daily lives. Captured, bred, exhibited, collected, and sold, ordinary pets and exotic creatures – as well as their representations – became commodities within Victorian Britain’s flourishing consumer culture. As a pet, an animal could be a companion, a living parlour decoration, and proof of a household’s social and moral status. In the zoo, it could become a public pet, an object of curiosity, a symbol of empire, or even a consumer mascot. Either kind of animal might be painted, photographed, or stuffed as a taxidermic specimen. Using evidence ranging from pet-keeping manuals and scientific treatises to novels, guidebooks, and ephemera, this fascinating, well-illustrated study opens a window into an underexplored aspect of life in Victorian Britain.
The experimental practices of a group of artists in the former East Germany upends assumptions underpinning Western art’s postwar histories. In Paper Revolutions, Sarah James offers a radical rethinking of experimental art in the former East Germany (the GDR). Countering conventional accounts that claim artistic practices in the GDR were isolated and conservative, James introduces a new narrative of neo-avantgarde practice in the Eastern Bloc that subverts many of the assumptions underpinning Western art’s postwar histories. She grounds her argument in the practice of four artists who, uniquely positioned outside academies, museums, and the art market, as these functioned in the West, created art in the blind spots of state censorship. They championed ephemeral practices often marginalized by art history: postcards and letters, maquettes and models, portfolios and artists’ books. Through their “lived modernism,” they produced bodies of work animated by the radical legacies of the interwar avant-garde. James examines the work and daily practices of the constructivist graphic artist, painter, and sculptor Hermann Glöckner; the experimental graphic artist and concrete and sound poet Carlfriedrich Claus; the mail artist, concrete poet, and conceptual artist Ruth Wolf-Rehfeldt; and the mail artist, “visual poet,” and installation artist Karla Sachse. She shows that all of these artists rejected the idea of art as a commodity or a rarefied object, and instead believed in the potential of art to create collectivized experiences and change the world. James argues that these artists, entirely neglected by Western art history, produced some of the most significant experimental art to emerge from Germany during the Cold War.
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