Download Free Puppets Gods And Brands Book in PDF and EPUB Free Download. You can read online Puppets Gods And Brands and write the review.

The early twenty-first century has seen an explosion of animation. Cartoon characters are everywhere—in cinema, television, and video games and as brand logos. There are new technological objects that seem to have lives of their own—from Facebook algorithms that suggest products for us to buy to robots that respond to human facial expressions. The ubiquity of animation is not a trivial side-effect of the development of digital technologies and the globalization of media markets. Rather, it points to a paradigm shift. In the last century, performance became a key term in academic and popular discourse: The idea that we construct identities through our gestures and speech proved extremely useful for thinking about many aspects of social life. The present volume proposes an anthropological concept of animation as a contrast and complement to performance: The idea that we construct social others by projecting parts of ourselves out into the world might prove useful for thinking about such topics as climate crisis, corporate branding, and social media. Like performance, animation can serve as a platform for comparisons of different cultures and historical eras. Teri Silvio presents an anthropology of animation through a detailed ethnographic account of how characters, objects, and abstract concepts are invested with lives, personalities, and powers—and how people interact with them—in contemporary Taiwan. The practices analyzed include the worship of wooden statues of Buddhist and Daoist deities and the recent craze for cute vinyl versions of these deities, as well as a wildly popular video fantasy series performed by puppets. She reveals that animation is, like performance, a concept that works differently in different contexts, and that animation practices are deeply informed by local traditions of thinking about the relationships between body and soul, spiritual power and the material world. The case of Taiwan, where Chinese traditions merge with Japanese and American popular culture, uncovers alternatives to seeing animation as either an expression of animism or as “playing God.” Looking at the contemporary world through the lens of animation will help us rethink relationships between global and local, identity and otherness, human and non-human.
In one of those rare books that allows us to see the world not as we've never seen it before, but as we see it daily without knowing, Victoria Nelson illuminates the deep but hidden attraction the supernatural still holds for a secular mainstream culture that forced the transcendental underground and firmly displaced wonder and awe with the forces of reason, materialism, and science. In a backward look at an era now drawing to a close, The Secret Life of Puppets describes a curious reversal in the roles of art and religion: where art and literature once took their content from religion, we came increasingly to seek religion, covertly, through art and entertainment. In a tour of Western culture that is at once exhilarating and alarming, Nelson shows us the distorted forms in which the spiritual resurfaced in high art but also, strikingly, in the mass culture of puppets, horror-fantasy literature, and cyborgs: from the works of Kleist, Poe, Musil, and Lovecraft to Philip K. Dick and virtual reality simulations. At the end of the millennium, discarding a convention of the demonized grotesque that endured three hundred years, a Demiurgic consciousness shaped in Late Antiquity is emerging anew to re-divinize the human as artists like Lars von Trier and Will Self reinvent Expressionism in forms familiar to our pre-Reformation ancestors. Here as never before, we see how pervasively but unwittingly, consuming art forms of the fantastic, we allow ourselves to believe.
Peter Schumann and his Bread & Puppet Theater are likely the most important, and surely the longest-lasting, contributors to modern American theater history. Since the early sixties Schumann and his puppeteers have been pouring out work after work on every scale: political works, mysterious works, grand works, modest works, works on the street and works in fields, works to be played in every size theater on four continents, books, prints, posters, and banners which live as show-and-tell in so many homes. Now Ron Simon and Marc Estrin, a remarkable photographer, and a long-time puppeteer, who have each in his own way contributed to the shows, recorded events, and reflected on them. Out of their experiences they have createdRehearsing with Gods: Photographs and Essays on the Bread & Puppet Theater. Far more than history or documentation, they identify eight archetypes engaged repeatedly by Peter Schumann and his crew. Their book consists of parallel meditations—the texts not commenting on the photos, the photos not illustrating the texts—unified and intertwined by the chapter themes of Death, Fiend, Beast, Human, World, Gift, Bread, and Hope. Altogether, it's a collaboration that reflects their sixty-odd man-years of personal experience in, hidden narratives of, and speculative reflections on Peter Schumann's projects, ever-more relevant to our times. This is a book that will engage both fans and newcomers—an inside-view of Peter Schumann's political-artistic world.
From computer games to figurines and maid cafes, men called “otaku” develop intense fan relationships with “cute girl” characters from manga, anime, and related media and material in contemporary Japan. While much of the Japanese public considers the forms of character love associated with “otaku” to be weird and perverse, the Japanese government has endeavored to incorporate “otaku” culture into its branding of “Cool Japan.” In Otaku and the Struggle for Imagination in Japan, Patrick W. Galbraith explores the conflicting meanings of “otaku” culture and its significance to Japanese popular culture, masculinity, and the nation. Tracing the history of “otaku” and “cute girl” characters from their origins in the 1970s to his recent fieldwork in Akihabara, Tokyo (“the Holy Land of Otaku”), Galbraith contends that the discourse surrounding “otaku” reveals tensions around contested notions of gender, sexuality, and ways of imagining the nation that extend far beyond Japan. At the same time, in their relationships with characters and one another, “otaku” are imagining and creating alternative social worlds.
Newbery Medalist Laura Amy Schlitz brings her sorcery to a Victorian gothic thriller — an enthralling, darkly comic tale that would do Dickens proud. The master puppeteer, Gaspare Grisini, is so expert at manipulating his stringed puppets that they appear alive. Clara Wintermute, the only child of a wealthy doctor, is spellbound by Grisini’s act and invites him to entertain at her birthday party. Seeing his chance to make a fortune, Grisini accepts and makes a splendidly gaudy entrance with caravan, puppets, and his two orphaned assistants. Lizzie Rose and Parsefall are dazzled by the Wintermute home. Clara seems to have everything they lack — adoring parents, warmth, and plenty to eat. In fact, Clara’s life is shadowed by grief, guilt, and secrets. When Clara vanishes that night, suspicion of kidnapping falls upon the puppeteer and, by association, Lizzie Rose and Parsefall. As they seek to puzzle out Clara’s whereabouts, Lizzie and Parse uncover Grisini’s criminal past and wake up to his evil intentions. Fleeing London, they find themselves caught in a trap set by Grisini’s ancient rival, a witch with a deadly inheritance to shed before it’s too late. Newbery Medal winner Laura Amy Schlitz’s Victorian gothic is a rich banquet of dark comedy, scorching magic, and the brilliant and bewitching storytelling that is her trademark.
The puppet creates delight and fear. It may evoke the innocent play of childhood, or become a tool of ritual magic, able to negotiate with ghosts and gods. Puppets can be creepy things, secretive, inanimate while also full of spirit, alive with gesture and voice. In this eloquent book, Kenneth Gross contemplates the fascination of these unsettling objects—objects that are also actors and images of life. The poetry of the puppet is central here, whether in its blunt grotesquery or symbolic simplicity, and always in its talent for metamorphosis. On a meditative journey to seek the idiosyncratic shapes of puppets on stage, Gross looks at the anarchic Punch and Judy show, the sacred shadow theater of Bali, and experimental theaters in Europe and the United States, where puppets enact everything from Baroque opera and Shakespearean tragedy to Beckettian farce. Throughout, he interweaves accounts of the myriad faces of the puppet in literature—Collodi’s cruel, wooden Pinocchio, puppetlike characters in Kafka and Dickens, Rilke’s puppet-angels, the dark puppeteering of Philip Roth’s Micky Sabbath—as well as in the work of artists Joseph Cornell and Paul Klee. The puppet emerges here as a hungry creature, seducer and destroyer, demon and clown. It is a test of our experience of things, of the human and inhuman. A book about reseeing what we know, or what we think we know, Puppet evokes the startling power of puppets as mirrors of the uncanny in life and art.
FEATURED ON THE COVER OF TIME MAGAZINE AS A 2021 NEXT GENERATION LEADER “A once-in-a-generation voice.” – Vulture “One of our greatest living writers.” – Shondaland A full-throated and provocative memoir in letters from the New York Times bestselling author, “a dazzling literary talent whose works cut to the quick of the spiritual self” (Esquire) In three critically acclaimed novels, Akwaeke Emezi has introduced readers to a landscape marked by familial tensions, Igbo belief systems, and a boundless search for what it means to be free. Now, in this extraordinary memoir, the bestselling author of The Death of Vivek Oji reveals the harrowing yet resolute truths of their own life. Through candid, intimate correspondence with friends, lovers, and family, Emezi traces the unfolding of a self and the unforgettable journey of a creative spirit stepping into power in the human world. Their story weaves through transformative decisions about their gender and body, their precipitous path to success as a writer, and the turmoil of relationships on an emotional, romantic, and spiritual plane, culminating in a book that is as tender as it is brutal. Electrifying and inspiring, animated by the same voracious intelligence that distinguishes Emezi's fiction, Dear Senthuran is a revelatory account of storytelling, self, and survival.
In this stand-alone companion to the New York Times bestselling Daughter of Smoke & Bone series comes the story of Mik and Zuzana's fantastical first date--as a gorgeously illustrated gift edition with bonus content included. Petite though she may be, Zuzana is not known for timidity. Her best friend, Karou, calls her "rabid fairy," her "voodoo eyes" are said to freeze blood, and even her older brother fears her wrath. But when it comes to the simple matter of talking to Mik, or "Violin Boy," her courage deserts her. Now, enough is enough. Zuzana is determined to make the first move, and she has a fistful of magic and a plan. It's a wonderfully elaborate treasure hunt of a plan that will take Mik all over Prague on a cold winter's night before leading him to the treasure: herself! Violin Boy is not going to know what hit him. New York Times bestselling author Laini Taylor brings to life a night only hinted at in the Daughter of Smoke & Bone trilogy--the magical first date of fan-favorites Zuzana and Mik. Originally published as an ebook, this new print edition will include breathtaking black and white illustrations, plus bonus content in a gorgeous package perfect for new and current fans of the series.
Demon warrior puppets, sword-wielding Taoist priests, spirit mediums lacerating their bodies with spikes and blades—these are among the most dramatic images in Chinese religion. Usually linked to the propitiation of plague gods and the worship of popular military deities, such ritual practices have an obvious but previously unexamined kinship with the traditional Chinese martial arts. The long and durable history of martial arts iconography and ritual in Chinese religion suggests something far deeper than mere historical coincidence. Avron Boretz argues that martial arts gestures and movements are so deeply embedded in the ritual repertoire in part because they iconify masculine qualities of violence, aggressivity, and physical prowess, the implicit core of Chinese patriliny and patriarchy. At the same time, for actors and audience alike, martial arts gestures evoke the mythos of the jianghu, a shadowy, often violent realm of vagabonds, outlaws, and masters of martial and magic arts. Through the direct bodily practice of martial arts movement and creative rendering of jianghu narratives, martial ritual practitioners are able to identify and represent themselves, however briefly and incompletely, as men of prowess, a reward otherwise denied those confined to the lower limits of this deeply patriarchal society. Based on fieldwork in China and Taiwan spanning nearly two decades, Gods, Ghosts, and Gangsters offers a thorough and original account of violent ritual and ritual violence in Chinese religion and society. Close-up, sensitive portrayals and the voices of ritual actors themselves—mostly working-class men, many of them members of sworn brotherhoods and gangs—convincingly link martial ritual practice to the lives and desires of men on the margins of Chinese society. This work is a significant contribution to the study of Chinese ritual and religion, the history and sociology of Chinese underworld, the history and anthropology of the martial arts, and the anthropology of masculinity.
Two worlds threaten to crumble in the face of a common enemy in the epic conclusion to the New York Times bestselling Daughter of Smoke & Bone trilogy -- now with a gorgeous new package! What power can bruise the sky? Two worlds are poised on the brink of a vicious war. By way of a staggering deception, Karou has taken control of the chimaera's rebellion and is intent on steering its course away from dead-end vengeance. The future rests on her. When the brutal angel emperor brings his army to the human world, Karou and Akiva are finally reunited -- not in love, but in tentative alliance against their common enemy. It is a twisted version of their long-ago dream, and they begin to hope that it might forge a way forward for their people. And, perhaps, for themselves. But with even bigger threats on the horizon, are Karou and Akiva strong enough to stand among the gods and monsters? The New York Times bestselling Daughter of Smoke & Bone trilogy comes to a stunning conclusion as -- from the streets of Rome to the caves of the Kirin and beyond -- humans, chimaera, and seraphim strive, love, and die in an epic theater that transcends good and evil, right and wrong, friend and enemy.