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The Funambulists brings together the diverse poetry collections of six contemporary Arab diasporic women poets. Spanning multiple languages and regions, this volume illuminates the distinct artistic voice of each poet, yet also highlights the aesthetic and political relevance that unites their work. Marchi explores the work of Naomi Shihab Nye, a celebrated American poet of Palestinian descent; Iman Mersal, an Egyptian poet living in Edmonton, Canada, who writes in Arabic; Nadine Ltaif, a Lebanese poet who lives in Quebec and has adopted French as her language; Maram al-Massri, a Syrian poet writing in Arabic and living in France; Suheir Hammad, an American poet of Palestinian origin; and Mina Boulhanna, a Moroccan poet living in Italy and writing in Italian. Despite their varying geographical and political backgrounds, these poets find common ground in themes of injustice, spirituality, gender, race, and class. Drawing upon the concept of tension, Marchi examines both the breaking points and the creative energies that traverse the poetic works of these writers. These celebrated funambulists use their art of balance and flexibility bolstered by their courage and transgression to walk a tightrope stretched out across cultures, faiths, and nations.
"This book is a collection of thirty-five texts from the first series of guest writers' essays, written specifically for The Funambulist weblog from June 2011 to November 2012. The idea of complementing Lambert's own texts on his blog with those written by others originated from the idea that having friends communicate with each other about their work could help develop mutual interests and provide a platform to address an audience. Thirty-nine authors of twenty-three nationalities were given the opportunity to write essays about a part of their work that might fit with the blog's editorial line. Overall, two 'families' of texts emerged, collected in two distinct parts in this volume.The first part, The Power of the Line, explores the legal, geographical and historical politics of various places of the world. The second part, Architectural Narratives, approaches architecture in a mix of things that were once called philosophy, literature and art. This dichotomy represents the blog's editorial line and can be reconciled by the obsession of approaching architecture without care for the limits of a given discipline. This method, rather than adopting the contemporary architect's syndrome that consists in talking about everything but being an expert in nothing, attempts to consider architecture as something embedded within (geo)political, cultural, social, historical, biological, and dromological mechanisms that widely exceed what is traditionally understood as the limits of its expertise."
Public Speaking for Leaders by Apoorva Bharadwaj,Pragyan Rath Pdf
This book studies the art of public speaking as oration instead of just ornamentation. It repositions public speaking as a fundamental business leadership act and a solution-enabling and problem-solving communication approach. Drawing on in-depth case studies, it considers various situations that a managerial leader encounters and delivers speech solutions as strategic manoeuvres for attaining desired targets. The volume: Deals with public speaking exclusively from a business perspective; Produces a workable manual of managerial public speaking that introduces the concept of oration as Or-Action (oratory that leads to desired action); Presents a variegated analysis of speech texts from history, politics, fiction, social media, film industry, platform content, and business-product presentations; Customises speeches into unique speech clusters where readers can readily find the type of speech texts they require for their own specific content development. The first of its kind, this book will be a key text for entrepreneurs, corporate managers, academic practitioners, and executives. It will also be of interest to students and researchers of behavioural economics, rhetoric, strategy, communication studies, business communication, fiction theory, generation studies, and virtual reality studies.
Post Celtic Tiger Landscapes in Irish Fiction by Marie Mianowski Pdf
Post Celtic Tiger Landscapes in Irish Fiction discusses the representations of place and landscape in Irish fiction since 2008. It includes novels and short stories by William Trevor, Dermot Bolger, Anne Enright, Donal Ryan, Claire Kilroy, Kevin Barry, Gerard Donovan, Danielle McLaughlin, Trisha McKinney, Billy O’Callaghan and Colum McCann. In the light of writings by geographers, anthropologists and philosophers such as Doreen Massey, Tim Ingold, Giorgio Agamben and Jeff Malpas, this book looks at the metamorphoses of place and landscape representations in fiction by confirmed or debut authors, in the aftermath of a crisis with deep economic as well as cultural consequences for Irish society. It shows what place and landscape representations reveal of the past, while discussing the way notions such as boundedness, openness and emergence can contribute to thinking out space and place and designing future landscapes.
Together with Bertolt Brecht and Gerhart Hauptmann, Carl Zuckmayer (1890-1977) was one of the most popular and significant German dramatists of the twentieth century. His folk play The Merry Vineyard (1925) marked the end of German expressionism; his comedy The Captain of Kopenick (1931), a scathing satire on German militarism, and his drama The Devil's General (1946), about a Nazi general and German resistance, were some of the most frequently performed plays in recent German theater history. During the Third Reich Zuckmayer's works were banned in Germany while their author lived as an exile in the United States, trying to survive as a farmer in Vermont. For that reason, Zuckmayer scholarship was off to a slow start. Wagener demonstrates that it received its main impetus from the United States where the majority of dissertations on Zuckmayer were written. He shows the development of scholarship from reviews to general assessments, from positivistic biographical fact finding to the New Criticism and finally to recent modes of critical assessment, including feminist criticism. Wagener draws particular attention to the role of the Carl Zuckmayer Society in critical discourse about this neglected author.
Miss Spellbinder's Point of View by Edward Swift Pdf
In this “delightful and bizarre” novel, Clarissa Spellbinder spins the yarn of her truly unbelievable—and completely unverified—life (The Boston Globe). Miss Clarissa Spellbinder has lived a truly astonishing life . . . or so she tells us. Her father was the intrepid adventurer Lord Andrew Spellbinder and her mother, the fiery Latin songbird Amelita de la Luna, who traveled the world and escaped almost certain death on numerous occasions. Miss Spellbinder relates their spectacular exploits to the patrons of the Back Door Bar That Once Faced the Sea on the fantastical island of Moly—though her listeners seem far more interested in hearing about the misadventures (of the sexual variety, mainly) of Clarissa’s enormous neighbor, the former carnival circuit star Fat Satsuma Johnson, a.k.a. the Black Queen of the Atchafalaya, a.k.a. the pie-eating queen of southern Louisiana. Miss Spellbinder, of course, is more than happy to oblige, since all her stories serve as ammunition in her ongoing battle against “the disease of the literal minded.” What matters most, she tells us, is a unique point of view, for without one, “you have no pinnacle on which to stand and express yourself.” Edward Swift (Splendora) indulges readers with a novel unlike anything they have read before, an epic voyage through the outrageous history, real and imagined, of Miss Clarissa Spellbinder. It is a journey that may entail a certain suspension of disbelief—but afterward, the world will look very different.
The Funambulists brings together the diverse poetry collections of six contemporary Arab diasporic women poets. Spanning multiple languages and regions, this volume illuminates the distinct artistic voice of each poet, yet also highlights the aesthetic and political relevance that unites their work. Marchi explores the work of Naomi Shihab Nye, a celebrated American poet of Palestinian descent; Iman Mersal, an Egyptian poet living in Edmonton, Canada, who writes in Arabic; Nadine Ltaif, a Lebanese poet who lives in Quebec and has adopted French as her language; Maram al-Massri, a Syrian poet writing in Arabic and living in France; Suheir Hammad, an American poet of Palestinian origin; and Mina Boulhanna, a Moroccan poet living in Italy and writing in Italian. Despite their varying geographical and political backgrounds, these poets find common ground in themes of injustice, spirituality, gender, race, and class. Drawing upon the concept of tension, Marchi examines both the breaking points and the creative energies that traverse the poetic works of these writers. These celebrated funambulists use their art of balance and flexibility bolstered by their courage and transgression to walk a tightrope stretched out across cultures, faiths, and nations.
Marcel Marceau poetics of gesture by Patrizia Iovine Pdf
The origins of theatre date back to 500 b. C. with religious rituals of ancient Greece. Mime drama dates back to Theocritus, to performances of folk life, to gatherings in honour of the God Dionysus, during which the use of a mask was introduced. The Romans used to mime political situations inventing satirical pantomimes. A silent genre developed in the town of Atella, the Atellan Farce, with fixed characters, ancestors of the stereotypes of the Commedia dell’Arte or theatre of the Zanni. The father of the family of the Zanni was the servant Arlequin. In the Commedia dell’Arte of the Sixteenth Century, the face was covered by a mask that would define the nature of the character. Created by Deburau in 1665, the melancholic Pierrot will step on stage and as his ancestors, he will be forever in love and rejected. With Molière, the use of the mask will start to change until it will disappear leaving space to the expressiveness of the face and nature of the character. With Carlo Goldoni the “Commedia di carattere” will flourish. In the Twentieth Century it’s Charlie Chaplin’s turn to write an important chapter of the art of mime with the romantic hero Charlot who wanders up and down the streets in the city of London in the Twenties, desperate and alone. In his gestural grammar, Etienne Decroux covers the face of the actors with a veil to leave only the body mass to speak. On the contrary, according to his pupil, Marcel Marceau, the face and the hands represent the backbone to gestural eloquence as in Oriental techniques with the aristocratic Noh and the commoner Kabuki. Starting from Graeco-Roman Statuary, retracing the phases of gestural art, remembering the myths of gesture and, working side by side with Decroux, Marceau will decide to generate the last heir of this imaginary dynasty, the merchant of illusions, Bip, leaving him free to live and dream in the temporal space of a performance. Transforming the invisible into visible, bringing into the theatres all around the world his pantomimes, the French Master has made palpable the art of emotions.
Advanced Creative Nonfiction by Sean Prentiss,Jessica Hendry Nelson Pdf
Advanced Creative Nonfiction: A Writers' Guide and Anthology offers expert instruction on writing creative nonfiction in any form-including memoir, lyric essay, travel writing, and more-while taking an expansive approach to fit a rapidly evolving literary art form. From a history of creative nonfiction, related ethical concerns, and new approaches to revision and publishing, this book offers innovative strategies and ideas beyond what's traditionally covered. Advanced Creative Nonfiction: A Writers' Guide and Anthology also includes: · An anthology of contemporary creative nonfiction by some of today's most inventive and celebrated writers · Advanced explorations into the craft of creative nonfiction across forms · In-depth discussion of truth, ethics, and memory · Practical advice on revision, editing, research, and publishing · Writing prompts and exercises throughout the textbook A companion website is also available for the book at http://www.bloomsburyonlineresources.com/advanced-creative-nonfiction
The Rites of Passage of Jean Genet by Gene A. Plunka Pdf
"In this book, Gene A. Plunka argues that the most important single element that solidifies all of Genet's work is the concept of metamorphosis. Genet's plays and prose demonstrate the transition from game playing to the establishment of one's identity through a state of risk taking that develops from solitude. However, risk taking per se is not as important as the rite of passage. Anthropologist Victor Turner's work in ethnography is used as a focal point for the examination of rites of passage in Genet's dramas." "Rejecting society, Genet has allied himself with peripheral groups, marginal men, and outcasts--scapegoats who lack power in society. Much of their effort is spent in revolt or direct opposition in mainstream society that sees them as objects to be abused. As an outcast or marginal man, Genet solved his problem of identity through artistic creation and metamorphosis. Likewise, Genet's protagonists are outcasts searching for positive value in a society over which they have no control; they always appear to be the victims or scapegoats. As outcasts, Genet's protagonists establish their identities by first willing their actions and being proud to do so." "Unfortunately, man's sense of Being is constantly undermined by society and the way individuals react to roles, norms, and values. Roles are the products of carefully defined and codified years of positively sanctioned institutional behavior. According to Genet, role playing limits individual freedom, stifles creativity, and impedes differentiation. Genet equates role playing with stagnant bourgeois society that imitates rather than invents; the latter is a word Genet often uses to urge his protagonists into a state of productive metamorphosis. Imitation versus invention is the underlying dialectic between bourgeois society and outcasts that is omnipresent in virtually all of Genet's works." "Faced with rejection, poverty, oppression, and degradation, Genet's outcasts often escape their horrible predicaments by living in a world of illusion that consists of ceremony, game playing, narcissism, sexual and secret rites, or political charades. Like children, Genet's ostracized individuals play games to imitate a world that they can not enter. Essentially, the play acting becomes catharsis for an oppressed group that is otherwise confined to the lower stratum of society." "Role players and outcasts who try to find an identity through cathartic game playing never realize their potential in Genet's world. Instead, Genet is interested in outcasts who immerse themselves in solitude and create their own sense of dignity free from external control. Most important, these isolated individuals may initially play games, yet they ultimately experience metamorphosis from a world of rites, charades, and rituals to a type of "sainthood" where dignity and nobility reign. The apotheosis is achieved through a distinct act of conscious revolt designed to condemn the risk taker to a degraded life of solitude totally distinct from society's norms and values." --Book Jacket.
The Book of the First American Chess Congress by Daniel Willard Fiske Pdf
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