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THE STORY: As described by New York critic Clive Barnes: Superficially the play is about the painter--famous, rich and lost--and his wife, who find themselves in a Tokyo hotel. The wife, wildly promiscuous, tries to seduce the Japanese barman in the
Twelve distinguished scholars and critics discuss the production, reception, and distribution of Hollywood and foreign films after the terrorist attacks of September 11, 2001, and examine how movies have changed to reflect the new world climate.
In response to the events following September 11, 2001, a number of leading cultural studies and interpretive qualitative researchers write from their own experiences and hearts. These essays by noted scholars Kellner, Fine, McLaren, Richardson, Denzin, Giroux and others, were written in crisis within days and weeks of September 11. The immediacy of their writing is refreshing and reflects the varied emotional and critical responses that bring meaning to this event. From the poetic to the personal, the theoretical to the historical, these contributions represent intelligent and reflective responses to crises. This collection of essays allows the contributors to tell us how they made sense of these tragic events and predicts what the place of the humanities and the social sciences might hold in an age of terror. The articles were originally published in journals "Qualitative Inquiry" and "Cultural Studies/Critical Methodologies".
THE STORY: It is September 12th, 2001; the setting is the Minneapolis apartment of Waverly, a young advertising executive. Soon to venture on a blind date amidst the television news coverage of the September 11th attacks, Waverly becomes preoccupie
Set on September 12, 2001, THE MERCY SEAT continues Neil LaBute's unflinching fascination with the often-brutal realities of the war between the sexes. In a time of national tragedy, the world changes overnight. A man and a woman explore the choices now available to them in an existence different from the one they had lived just the day before. Can one be opportunistic in a time of universal selflessness? "There is no playwright on the planet these days who is writing better than Neil LaBute ... THE MERCY SEAT is ... the work of a master." --John Lahr, The New Yorker "An intelligent and thought-provoking drama that casts a less-than-glowing light on man's dark side in the face of disaster ... The play's energy lies in LaBute's trademark scathing dialogue." --Robert Dominguez, Daily News "Though set in the cold, gray light of morning in a downtown loft with inescapable views of the vacuum left by the twin towers, THE MERCY SEAT really occurs in one of those feverish nights of the soul in which men and women lock in vicious sexual combat, as in Strindberg's DANCE OF DEATH and Edward Albee's WHO'S AFRAID OF VIRGINIA WOOLF?" --Ben Brantley, The New York Times "[A] powerful drama ... LaBute shows a true master's hand in gliding us amid the shoals and reefs of a mined relationship." --Donald Lyons, New York Post "Uncomfortable yet fascinating ... THE MERCY SEAT makes for provocative theater -- sharp, compelling and more than a little chilling." --Michael Kuchwara, Newsday "LaBute's intriguing [new play] is most compelling when it is daring to look into [a] character's heart to explore the way self-interest, given the opportunity, can swamp all our nobler instincts." --Charles Isherwood, Variety "In THE MERCY SEAT ... LaBute has given us his most compelling portrait of male inner turmoil." --Brendan Lemon, Financial Times "LaBute [is] the dark shining star of stage and film morality." --Linda Winer, Newsday "Sharply funny and incisive SEAT is not a response to September 11, but a response to the response to September 11 -- an emotionally jarring consideration of the self-serving exploitation of tragedy for personal gain ... Perhaps it's time we stop thinking of LaBute as a mere provocateur, a label that condescends to an artist of grand ambition and a nimble facility with language. With this gripping ... new drama, he probes deeper than he ever has before." --Jason Zinoman, Time Out New York "A nihilistic yet brutally honest work ... As complex and unfathomable as human motivations ... THE MERCY SEAT is haunting." --David A. Rosenberg, Backstage "LaBute risks offending contemporary sensibilities by using a historic tragedy as his turning point for a drama regarding a morally empty American ... [THE MERCY SEAT is] controversial and compelling." --Michael Sommers, The Star-Ledger "LaBute ... is holding up a pitiless mirror to ourselves. We may not like what we see, but we can't deny that -- if only in some dark corner of our soul -- it is there." --Jacques le Sourd, The Journal News
First performed in a hit off-off-Broadway production, and soon to be a film starring Sigourney Weaver and Anthony LaPaglia, The Guys is a timeless drama about the surprising truths people can discover in ordinary lives, and the connections we make with others and ourselves in times of tragedy. Paralyzed by grief and unable to put his thoughts into words, Nick, a fire captain, seeks out the help of a writer to compose eulogies for the colleagues and friends he lost in the catastrophic events of September 11, 2001. As Joan, an editor by trade, draws Nick out about “the guys,” powerful profiles emerge, revealing vivid personalities and the substance and meaning that lie beneath the surface of seemingly unremarkable people. As the individual talents and enthusiasms of the people within the small firehouse community are realized, we come to understand the uniqueness and value of what each person has to contribute. And Nick and Joan, two people who under normal circumstances never would have met, jump the well-defined tracks of their own lives, and so learn about themselves, about life, and about the healing power of human connection, through talking about the guys.
This book is about coincidents that have happened in my life that affected the American public, from cities being changed forever once we left to important buildings being raised. These are just a few incidents that can be remembered. Sayings such as “rip off” or “under the bus” are identified and repeated often publicly. Somehow, songs of the fifties could be traced to my experiences.
The Christian life demands both action and speech. Christians must, in the words of St. James, "live by the word, not content merely to listen to it." And St. Peter exhorts: "If anyone asks you to give an account of the hope which you cherish, be ready at all times to answer for it." The "Slow Motion" collections of Monsignor Ronald Knox take up these admonitions and provide indispensable assistance for the proper fulfillment of these Christian duties. Whereas The Mass in Slow Motion endows its readers with a clear vision of the liturgy and their necessary role therein, this volume, The Creed in Slow Motion, equips its readers to confidently articulate their faith. In the opening sermon, Knox links the Credo to the Confiteor to emphasize the fundamentally personal nature of faith. "It is always Confiteor we say, not Confitemur, even when we are saying it together. Why? Because my sins are my sins, and your sins are your sins; each of us is individually responsible. So it is with the Credo; each of us, in lonely isolation, makes himself or herself responsible for that tremendous statement, I believe in God." As a consequence, the one worthy of the grace to say Credo is also responsible for being ready to say it with proper understanding. Preached with the full homage of Knox's wit and intelligence, The Creed in Slow Motion is a certain aid for achieving that readiness.
"No one suspected what the unleashing of irregular warfare would mean. No one considered what the victory of the civilian over the soldier would mean if one day the citizen put on the uniform while the partisan took it off to continue the fight without it." Theory of the Partisan consists of two lectures, delivered by Carl Schmitt in 1962, addressing the transformation of war in the post-European age. This accessible work analyzes the origin, evolution, and practical effects of the modern partisan. With the rise of political terrorism and the universal acceptance of critical theory, Schmitt's Theory of the Partisan emerges today more relevant than ever. The C.J. Miller translation is the third complete English translation of Carl Schmitt's Theory of the Partisan, being made available in 2020 to the general public through Antelope Hill Publishing. This translation is more faithful to the original German and avoids any commentary or apologia for the plain words of this formidable legal and political thinker.