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This collection of original essays explores the historical and cultural diversity of the experience of gender reversal over an exceptional geographical and chronological range. Topics cove- red include anthropology, history, literature.Gender reversal is a perennial theme in the cultures of both East and West. It emerges in classical Chinese theatre, in the ceremony consecrating the Japanese emperor, and in Hindu mythology; in the ancient Greek rites of Dionysos, in medieval Christian thought and in the culture of the American Indians.The original essays in Gender Reversals and Gender Cultures explore the historical and cultural diversity of the experience of gender reversal over an exceptional geographical and chronological range. The contributors bring a unique mixture of perspectives to bear on the subject, with backgrounds in anthropology, history, literature, political science, comparative religion and women's studies. They reveal the complex relation of gender reversal to taboo, and show how differing attitudes reveal much about particular cultures.
Theatre as Voyeurism (re)defines voyeurism as an 'exchange' between performers and audience members, privileging pleasure (erotic and aesthetic) as a crucial factor in contemporary theatre. This intriguing group of essays focuses on artists such as Jan Fabre, Romeo Castellucci, Ann Liv Young, Olivier Dubois and Punchdrunk.
Questions regarding the afterlife are many, and the Gospel of Luke and the book of Acts pay a great deal of attention to them: why does Luke speak about several different forms of the afterlife? Why is resurrection described as a person's transformation into an angelic being? How many abodes are appointed for the righteous and the wicked after death? Alexey Somov addresses these queries in relation to the apparent confusion and variety found in the text, and in respect of the interrelatedness of these issues, and their connection with other eschatological issues in Luke-Acts, and in relation to the wider cultural context of the Mediterranean world to which Luke belonged. Every culture expresses its beliefs by means of special metaphors that allow it to comprehend supernatural realities in terms of everyday experience. Belief in the afterlife was part of this metaphorical system which Luke shared with the ancient eastern Mediterranean culture. Somov takes his analysis one step further by applying Cognitive Metaphor Theory to selected metaphorical aspects of the afterlife. While the inconsistencies and incoherence of the combined metaphors may seem jarring to a contemporary Western reader, Somov's reading enables a recognition of the specific religious metaphors used, which for Luke would have been current and widely accepted.
By fusing biographical, historical, cultural, and literary materials with the insights of psychology and archetypal theory, this study traces the evolution of Sendak's work from the 1950s, to the breakthroughs of the 1960s and 1970s, to the rich complexity of his later books. Cech focuses on books that Sendak has both written and illustrated.
這本書寫於1933年，在美國甚或其實地區已經屬於公共領域。 出版者將舊書製成數位化版本是為了向這三位女性致敬：作者內拉·布拉迪(Nella Braddy)、第一位獲得大學學位的聾盲人海倫·凱勒(Helen Keller) 以及她堅持不懈的老師安妮·蘇利文·梅西(Anne Sullivan Macy)。此外，海倫凱勒的筆跡也被數位化，製成為海倫凱勒手寫字體(Helen Keller Handwriting Font)，並用於這電子書的封面。 這本書在教育和人類演進方面具有非常重要的意義，其內容對整個世界是無價的。
In his candid and witty autobiography, famed tycoon J. Paul Getty invites readers to glimpse the twentieth century from the vantage point of a man who lived, as he puts it, "through the most exciting and exhilarating - and most turbulent and terrible - eight decades of human history." Whether describing how he amassed his staggering fortune, recounting conversations with intriguing personalities of the day, or frankly discussing his marriages and liaisons, J. Paul Getty sets the record straight - once and for all. He even speaks honestly about his notorious stinginess and the bizarre problems faced by the impossibly wealthy.