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Twelve research articles deal with aspects of religion in the plays of William Shakespeare, from early in the dramatist’s career to the end. Ordered by chronology, two chapters focus on history plays; three chapters focus on comedies and three on tragedies; one deals with "Troilus and Cressida," and three chapters deal with the late romances. The anthology does not cover all of Shakespeare’s plays and collaborations or the lyric poems. The collection is ecumenical and transnational. While the contributors all recognize that Shakespeare wrote in a Renaissance Christian universe, Christianity is not the only world religion dealt with. Approaches involve history and philosophy as well as theology, and individual perspectives vary. One thing the collection makes clear is that religion, in some sense, operates in every Shakespearean work, and its large spectrum ranges through plot and character from shallow to deep, self-interested to elevated, bloody to harmonious. Religion and religious differences were also part of the fabric and history of the playwright’s world, manifesting in the plays in situation, language, and iconography. From various perspectives, a common denominator is that the authors approach aspects of religion as one element in an informed analysis of the works.
Why is progress in environmental protection slow and faltering? Is it because we misunderstand our place in nature? This book argues that it is the normative implications of Darwinism and their powerful grip on collective social consciousness that are partly responsible for the tardiness. For all its positive explanatory power and undoubted veracity, the normative implications of Darwinist thinking for our environmental predicament are stark: If we are children of Mother Nature equipped by her with a human nature, the responsibility for the deterioration of nature is partly Hers. This book takes a different standpoint. We are indeed children of Nature, but not primarily of the green nature or animal world but of the nature of language. We can understand how through the philosophy of Ludwig Wittgenstein, who states that “Language is a graft on instinctive behavior.” In our instinctive use of words we are parts of nature in a way resembling mice, frogs and giraffes. We are not as free as we think when we talk about our “free will”, because language uses us when we use it, hence our double roles as victims and instigators. The main thesis of this book is that rather than merely possessing language, we are language. If accepted, this realization may point the way to a more optimistic future for environmental protection and lay the foundations for a new analytical perspective on modern social behavior. "Darwin's Incomplete Idea" was much discussed when first published in Sweden (Bokförlaget Anomali, 2013). The English edition exposes, for the first time, this important work to an international audience. It should be of interest to philosophers of language and social scientists concerned about the environment and our place in it.
While much has been written about Chuck Palahniuk and his body of work, next to nothing has been written about when, where and how it is necessary to teach Palahniuk. This collection will reveal that teaching Palahniuk’s work and the discursive dynamic of the classroom interactions create new opportunities for scholarship by both the faculty member and his or her students. Despite early critical success with ‘Fight Club’, ‘Invisible Monsters’, and ‘Choke’, Palahniuk’s novels are increasingly dismissed for the very transgressive content that makes them essential pedagogical tools in the Age of Trump where “truth isn’t truth,” and tribalism is stoked with claims of “fake news”. This collection aims to broaden the scholarship by examining under-represented and unrepresented works from his oeuvre and situating them in the context of their pedagogical implications. In both form and content, the transgressive nature of Palahniuk’s work demands critical thought and reflection, capacities that are necessary for the preservation of a democratic society. Contributors take various approaches to address what students can learn about writing, literature, and society by reading and analyzing Palahniuk’s texts. The collection will discuss the value of teaching Palahniuk, innovations and various disciplinary contexts for teaching his works, and reflections on some of those pedagogical opportunities. Through its multi-faceted discussion of Palahniuk and pedagogy, this collection will legitimize efforts to bring his work onto syllabi and into the classroom, where it can enhance student engagement, create new avenues for inter-disciplinary scholarship, and re-invigorate an expansion of the canon. It will also provide diverse frameworks for incorporating and interpreting Palahniuk’s writing across disciplines. Finally, the collection will offer post-mortems from faculty members who have found the “guts” to teach Palahniuk and will offer insight into what students have gained and stand to gain from a more intensive Palahniuk pedagogy.
'The Hamilton Phenomenon' brings together a diverse group of scholars including university professors and librarians, educators at community colleges, Ph.D. candidates and independent scholars, in an exploration of the celebrated Broadway hit. When Lin-Manuel Miranda’s musical sensation erupted onto Broadway in 2015, scholars were underprepared for the impact the theatrical experience would have. Miranda’s use of rap, hip-hop, jazz, and Broadway show tunes provides the basis for this whirlwind showcase of America’s past through a reinterpretation of eighteenth-century history. Bound together by their shared interest in 'Hamilton: an American Musical', the authors in this volume diverge from a common touchstone to uncover the unique moment presented by this phenomenon. The two parts of this book feature different emerging themes, ranging from the meaning of the musical on stage, to how the musical is impacting pedagogy and teaching in the 21st century. The first part places Hamilton in the history of theatrical performances of the American Revolution, compares it with other musicals, and fleshes out the significance of postcolonial studies within theatrical performances. Esteemed scholars and educators provide the basis for the second part with insights on the efficacy, benefits, and pitfalls of teaching using Hamilton. Although other scholarly works have debated the historical accuracy of Hamilton, 'The Hamilton Phenomenon' benefits from more distance from the release of the musical, as well as the dissemination of the hit through traveling productions and the summer 2020 release on Disney+. Through critically engaging with Hamilton these authors unfold new insights on early American history, pedagogy, costume, race in theatrical performances, and the role of theatre in crafting interest in history.
'Philosophy’s Treason: Studies in Philosophy and Translation' gathers contributions from an international group of scholars at different stages of their careers, bringing together diverse perspectives on translation and philosophy. The volume’s six chapters primarily look towards translation from philosophic perspectives, often taking up issues central to Translation Studies and pursuing them along philosophic lines. By way of historical, logical, and personal reflection, several chapters address broad topics of translation, such as the entanglements of culture, ideology, politics, and history in the translation of philosophic works, the position of Translation Studies within current academic humanities, untranslatability within philosophic texts, and the ways philosophic reflection can enrich thinking on translation. Two more narrowly focused chapters work closely on specific philosophers and their texts to identify important implications for translation in philosophy. In a final “critical postscript” the volume takes a reflexive turn as its own chapters provide starting points for thinking about philosophy and translation in terms of periperformativity. From philosophers critically engaged with translation this volume offers distinct perspectives on a growing field of research on the interdisciplinarity and relationality of Translation Studies and Philosophy. Ranging from historical reflections on the overlap of translation and philosophy to philosophic investigation of questions central to translation to close-readings of translation within important philosophic texts, Philosophy’s Treason serves as a useful guide and model to educators in Translation Studies wishing to illustrate a variety of approaches to topics related to philosophy and translation.
This volume explores the complex horizon of landscapes in horror film culture to better understand the use that the genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. In The Philosophy of Horror, Noël Carroll discusses the “geography” of horror as often situating the filmic genre in liminal spaces as a means to displace the narrative away from commonly accepted social structures: this use of space is meant to trigger the audience’s innate fear of the unknown. This notion recalls Freud’s theorization of the uncanny, as it is centered on recognizable locations outside of the Lacanian symbolic order. In some instances, a location may act as one of the describing characteristics of evil itself: In A Nightmare on Elm Street teenagers fall asleep only to be dragged from their bedrooms into Freddy Krueger’s labyrinthine lair, an inescapable boiler room that enhances Freddie’s powers and makes him invincible. In other scenarios, the action may take place in a distant, little-known country to isolate characters (Roth’s Hostel films), or as a way to mythicize the very origin of evil (Bava’s Black Sunday). Finally, anxieties related to the encroaching presence of technology in our lives may give rise to postmodern narratives of loneliness and disconnect at the crossing between virtual and real places: in Kurosawa’s Pulse, the internet acts as a gateway between the living and spirit worlds, creating an oneiric realm where the living vanish and ghosts move to replace them. This suggestive topic begs to be further investigated; this volume represents a crucial addition to the scholarship on horror film culture by adopting a transnational, comparative approach to the analysis of formal and narrative concerns specific to the genre by considering some of the most popular titles in horror film culture alongside lesser-known works for which this anthology represents the first piece of relevant scholarship.
Arras Hanging: The Textile That Determined Early Modern Literature and Drama reveals that early modern writers aspired to produce narratives that replicated the structure and aesthetic of high-quality Renaissance tapestries in order to appeal to their audiences’ desire for a “hands-on” and idiosyncratic narrative experience.
‘Liberty & Prosperity: Liberal Economics for Achieving Universal Prosperity’ aims to illuminate alternative policy framework using liberal economic policies. The evolution of this book is grounded in the author’s personal and professional experience investigating economies around the world and therefore takes a global view. The ideas discussed are intended for countries currently under different stages of development and are not restricted to only developed countries or emerging economies. This book examines what we as a society can do to achieve universal prosperity with the recurring topic of the intertwining nature of liberty and prosperity; without prosperity, man cannot have true liberty, and the best way to achieve universal prosperity is by providing liberty to all. It identifies the appropriate measures from existing liberal theories that could help achieve this long-term goal, while also introducing contrarian ideas, including the elimination of income tax, denationalization of money, and the reduction in the role of central banks. The central theme is that liberty in all aspects of economic activity, coupled with universal basic income, could create universal prosperity. This book will particularly appeal to those with a general interest in the economy and business, as well as students who seek an overview of classical macroeconomic principles; however, the book’s innovative ideas may also be of interest to professional economists.
When John Redmond declared ‘No Irishman in America living 3,000 miles away from the homeland ought to think he has a right to dictate to Ireland’ the Irish leader unwittingly made a rod for his own back. In denying the newly-established United Irish League of America any input into party policy formulation, Redmond risked alienating the nation’s largest diaspora should a home rule crisis ever occur. That such a situation developed in 1914 is an established fact. That it was the product of Redmond’s own naivety is open to conjecture. ‘Home Rule from a Transnational Perspective: The Irish Parliamentary Party and the United Irish League of America, 1901-1918’ explores the Irish Party’s subordination of its American affiliate in light of the ultimate demise of constitutional nationalism in Ireland. This book fills a void in Irish American studies. To date, research in this field has been dominated by Clan na Gael and the Irish Revolutionary Brotherhood, particularly the transatlantic links that underpinned the Easter Rising in 1916. Little attention has been paid to the Irish party’s efforts to manage the diaspora in the years preceding the insurrection or to the individuals and organisations that proffered a more moderate solution to the age-old Irish Question. Breaking new ground, it offers a fresh and interesting perspective on the fall of the Home Rule Party and helps to explain the seismic shift towards a more radical approach to gaining independence. This book is essential reading for anyone interested in Irish America, diaspora studies, Irish independence, and/or home rule. It complements the existing historiography and enhances our knowledge of a largely understudied aspect of Irish nationalism.
We know all kinds of monsters. Vampires who suck human blood, werewolves who harass tourists in London or Paris, zombies who long to feast on our brains, or Godzilla, who is famous in and outside of Japan for destroying whole cities at once. Regardless of their monstrosity, all of these creatures are figments of the human mind and as real as they may seem, monsters are and always have been constructed by human beings. In other words, they are imagined. How they are imagined, however, depends on many different aspects and changes throughout history. The present volume provides an insight into the construction of monstrosity in different kinds of media, including literature, film, and TV series. It will show how and by whom monsters are really created, how time changes the perception of monsters and what characterizes specific monstrosities in their specific historical contexts. The book will provide valuable insights for scholars in different fields, whose interest focuses on either media studies or history.