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"The range of topics in this volume covers a multitude of historical periods and topics, which in turn figure in the new media environments of contemporary life. These include discussions of the Aristotelian and classical models of a "good life" that inform animated fairy tales today, 1930s French and Hollywood films which respond to the dire need for productive human relationships in a turbulent decade, the polemical positions of black film criticism through the lens of James Baldwin's work, a discussion of contemporary filmic quests for happiness, the challenges for women filmmakers today in mapping the values of their own world, landscapes of austerity and poverty in the cinematic homelands today, the scientific, psychological, and philosophical base for human value, and the shifting media frames of modern society and selves"--
"This collection explores the link between theatre and human flourishing. It interrogates both the social good of theatre and the personally restorative work of a range of live embodied performances. It brings together the disciplines of theatre (and performance studies) and psychology, especially positive psychology, to explore the social benefits of theatre: creating community, encouraging interconnection, serving as a mean to reveal and share both healing and trauma"--
"These questions-in essence 'What are flourishing lives and how can we lead them?'-are long central to philosophy. Now, however, can be addressed in light of new insights in positive psychology, psychiatry, evolutionary biology, cognitive science, and behavioral economics as well new research in philosophy itself, including feminist theory, critical race studies, philosophical psychology, neuro-ethics, and more. The thirteen contributors chart new directions for understanding and securing human flourishing. Reflecting the fact that lives and cultures differ, the perspectives are pluralistic. Part One considers the meaning of human flourishing through analyses of: the nature of purposeful, mattering lives; biological, psychological, and social levels of homeostasis; the nature of human agency and the role of narrative in it; the nature of the self and self-fulfillment; the centrality of subjective values and non-subjective conditions that make possible these values; and the need to encompass the wide diversity of human lives. Part Two considers conditions on which flourishing depends. These include: habits flexible enough to confront ever-changing realities; conditions of social justice rather than supposed self-help; epistemic responsibility and sensitivity to social relations; civility and values literacy; educational reconstruction, particularly in the humanities; a cultural focus on eudaimonic values rather than mere technical efficiency and marketplace consumerism; and the role of creative arts in transforming our abilities, promoting genuine self-government, and providing consolation in the face of loss"--
"What is the value of history for life? And how, if at all, might historians and their work contribute to human flourishing and well-being? Those are the straightforward, if capacious, questions that the distinguished contributors to this volume were asked to consider. The essays gathered here represent their responses. Each essay considers the value of history for life and its connections to human flourishing from a different standpoint and perspective. The answers are often deeply personal, but collectively they concur in affirming history and the historical craft as tremendous resources for human well-being and of vital importance for our times"--
It has long been accepted that participating in music, either as a performer, listener, or composer, can contribute to human happiness and well-being. This volume, part of The Humanities and Human Flourishing series, explores a fourth musical activity--the act of music scholarship--and reveals how engagement with the cultural, social, and political practices surrounding music contributes to human flourishing in a way that listening, performing, and even composing alone cannot. Music and Human Flourishing contains essays by eleven prominent scholars representing the fields of musicology, ethnomusicology, and music theory. The essays are divided into three general categories and cover a broad range of topics and music traditions. In Part I, Contemplation, contributors explore a specific facet of music's connection to human flourishing and contemplate new approaches for future action. Part II, Critique, contains essays that challenge past assumptions of the various roles of music in society and highlight the effects that unconscious bias and stereotyping have had on music's effectiveness to facilitate human flourishing. Part III, Communication, features essays that explore how ethnicity, gender, religion, and technology influence our ability to connect with others through music. Collectively, these essays demonstrate how the process of thinking and writing about music and human flourishing can lead to revelations about cultural identity, social rituals, political ideologies, and even spiritual transcendence.
"In mid-December, 2018, a man stood before one of the most beloved paintings in Europe, Botticelli's The Birth of Venus, and had a heart attack (Henri Neuendorf,ArtNet News, December 19, 2018 https://news.artnet.com/art-world/heart-attack-botticelli-uffizi-1425448). Venus is that painting you're thinking of, the one with the shapely, wheat-haired woman standing in a seashell, with one hand covering her breasts and the other holding her long, golden locks in front of her groin. Floating above her right shoulder are two winged figures with their arms wrapped around each other, who blow air on her like distant kisses. On her left stands a woman (the Hora of Spring?) who holds what looks like a drape and gazes directly at our goddess, whose face, tilted just so, looks toward the viewer with a gentle yet mature glance, as if she was born knowing all one needs to know of love and seduction. Fortunately, the man whose heart failed while looking back at our all-knowing Venus survived, but he was not the first to collapse while viewing art in Florence, and no doubt he will not be the last. It has happened often enough that there is a medical term for the phenomenon named after the first notable man to succumb, "Stendhal Syndrome." Apparently the French author of On Love, a treatise on romantic passion, reported that he fell ill in 1817 after viewing too much Florentine art (Bamforth 945). Is it any wonder that Botticelli's winged figures hang on to each other so tightly? To be awestruck is to be in imminent danger"--
Religious Studies, Theology, and Human Flourishing contains essays by nine prominent scholars of religious studies and theology on approaches to cultivating human flourishing within the field of positive psychology. Part of The Humanities and Human Flourishing series, this volume represents perspectives from north India to the buckle of the American Bible Belt and explores the implications of religious studies and theology for well-being, illuminating connections between theory, pedagogy, and practice.
"Of all humanities disciplines, none is more resistant to the program of positive psychology or more hostile to the prevailing discourse of human flourishing than literary studies. The approach taken in this volume of essays is neither to gloss over that antagonism nor to launch a series of blasts against positive psychology and the happiness industry. Rather, the essays are attempts to reflect on how the kinds of literary research the contributors themselves are doing, the kinds of work to which they are personally committed, might become part of an interdisciplinary conversation about human flourishing. The authors' specific fields of work are wide ranging, covering literary aesthetics, book history, digital humanities, and reader reception, as well as the important "inter-disciplines" of gender and sexuality studies, disability studies, and black studies-fields in which issues of stigma and exclusion are paramount, and which have critiqued the discourse of human flourishing for its failure to grapple with structural inequality and human difference. Taken together, the essays contribute more points of ambiguity and hesitation to the study of human flourishing than decisive advancements. Literary scholars are drawn more readily to the problematic than to the decidable. But by dwelling on the trouble spots in a field of inquiry still largely confined to the sciences, this volume provides the groundwork for new and more productive forms of interdisciplinary collaboration and exchange"--
What does it mean to flourish? Human flourishing lies at the heart of the good news of the gospel, and yet contemporary theologies know not only one way of speaking about what it means to flourish. If we embed our theological grammars of flourishing in the doctrine of salvation, as the doctrine in which theological flourishing talk is arguably rooted and from which rich fruit may be borne, there is not one but various ways in which to speak about what it means to flourish. Yet what governs our speaking? Why do we speak of flourishing as we do? The various conceptions of human flourishing that are outlined in this book – piety, joy, and comfort; being fully alive, healing, and dignity; grace, happiness, and blessing – represent a collection of attempts not only to imagine human flourishing, but also to imagine ways of speaking about human flourishing. Perhaps what theology could offer to the vibrant and robust conversations on human flourishing lies exactly in the reminder to take care about how we speak about that which is truly and deeply human: our longing to flourish.
Why have certain kinds of documentary and non-narrative films emerged as the most interesting, exciting, and provocative movies made in the last twenty years? Ranging from the films of Ross McElwee (Bright Leaves) and Agnès Varda (The Gleaners and I) to those of Abbas Kiarostami (Close Up) and Ari Folman (Waltz with Bashir), such films have intrigued viewers who at the same time have struggled to categorize them. Sometimes described as personal documentaries or diary films, these eclectic works are, rather, best understood as cinematic variations on the essay. So argues Tim Corrigan in this stimulating and necessary new book. Since Michel de Montaigne, essays have been seen as a lively literary category, and yet--despite the work of pioneers like Chris Marker--seldom discussed as a cinematic tradition. The Essay Film, offering a thoughtful account of the long rapport between literature and film as well as novel interpretations and theoretical models, provides the ideas that will change this.