William C. Scott extends concepts set forth in his Goodwin Award-winning Musical Design in Aeschylean Theater (1984) by examining scansion patterns in the odes of the seven surviving Sophoclean tragedies. Analyzing the play as performed-its full expression in words, music, and dance-Scott finds that Sophocles' metrical patterns are not a secondary detail of the plays but a central feature of their musical organization. Just as the playwright enhanced awareness of themes with a series of recurring and developing verbal images, he also designed the music to guide the audience's understanding of unfolding, often ambiguous events. The fabric of music and meaning is so tightly woven, Scott argues, that significant portions of the plays cannot be fully realized on stage unless the musical effects created by the poet are incorporated. While his work necessarily centers on the chorus, Scott carefully integrates that role into the meaning of the play as a whole, asserting that the chorus becomes a single persona, a character with partial knowledge, limited perspective, and inconsistent responses. The combination of words, meters, and forms provides a new perspective on each play.
In 1840, prosperous farming families left North and South Carolina to trek in covered wagons to the unsettled Arkansas River Valley. Absorbing to read and rich with colorful detail, this is a story of the peopling of the western frontier and the ways in which hardship, religion, and a shared past bound settlers together into a lasting community.
... excellent example... significant contribution... an important interdisciplinary work... " -- Middle East Journal "... an important contribution to aspects of Iranian social communication and interpersonal verbal behavior." -- Language By showing the reader the intricacies of face-to-face sociolinguistic interaction, William Beeman provides a key to understanding Iranian social and political life. Beeman's study in cross-cultural linguistics will clearly be a model for the study of different languages and cultures.
Earth is the only planet known to have fire. The reason is both simple and profound: fire exists because Earth is the only planet to possess life as we know it. Fire is an expression of life on Earth and an index of life’s history. Few processes are as integral, unique, or ancient. Fire on Earth puts fire in its rightful place as an integral part of the study of geology, biology, human history, physics, and global chemistry. Fire is ubiquitous in various forms throughout Earth, and belongs as part of formal inquiries about our world. In recent years fire literature has multiplied exponentially; dedicated journals exist and half a dozen international conferences are held annually. A host of formal sciences, or programs announcing interdisciplinary intentions, are willing to consider fire. Wildfire also appears routinely in media reporting. This full-colour text, containing over 250 illustrations of fire in all contexts, is designed to provide a synthesis of contemporary thinking; bringing together the most powerful concepts and disciplinary voices to examine, in an international setting, why planetary fire exists, how it works, and why it looks the way it does today. Students, lecturers, researchers and professionals interested in the physical, ecological and historical characteristics of fire will find this book, and accompanying web-based material, essential reading for undergraduate and postgraduate courses in all related disciplines, for general interest and for providing an interdisciplinary foundation for further study. A comprehensive approach to the history, behaviour and ecological effects of fire on earth Timely introduction to this important subject, with relevance for global climate change, biodiversity loss and the evolution of human culture. Provides a foundation for the interdisciplinary field of Fire Research Authored by an international team of leading experts in the field Associated website provides additional resources
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