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A fascinating exploration of an ancient system of beliefs and its links to the evolution of dance. From Southern Greece to northern Russia, people living in agrarian communities have long believed in “dancing goddesses,” mystical female spirits who spend their nights and days dancing in the fields and forests. In The Dancing Goddesses, archaeologist, linguist, and lifelong folkdancer Elizabeth Wayland Barber follows the trail of these spirit maidens—long associated with fertility, marriage customs, and domestic pursuits—from their early appearance in traditional folktales and harvest rituals to their more recent incarnations in fairytales and present-day dance. Illustrated with photographs, maps, and line drawings, the result is a brilliantly original work that stands at the intersection of archaeology and folk traditions—at once a rich portrait of our rich agrarian ancestry and an enchanting reminder of the human need to dance.
Breaking new ground in the study of performance theory, this maverick and powerful project from renowned Renaissance scholar and queer theorist Simon Shepherd presents a unique take on theory and the physical reality of theatre. Examining a range of material, Theatre, Body, Pleasure addresses a significant gap in the literary and drama studies arenas and explores the interplay of bodily value, the art of bodies and the physical responses to that art. It explains first how the body makes meaning and carries value. Then it describes the relationships between time and space and body. The book’s features include: * large historical range, from medieval to postmodern * case studies offering close readings of written texts * examples of how to ‘read for the body’, exploring written text as a ‘discipline’ of the body * breadth of cultural reference, from stage plays through to dance culture * a range of theoretical approaches, including dance analysis and phenomenology Writing in accessible prose, Shepherd introduces new ways of analyzing dramatic text and has produced a book which is part theatre history, part dramatic criticism and part theatrical tour de force. Students of drama, theatre and performance studies and cultural studies will find this an absolute must read.
The authoritative 1890 edition with an introduction by Cairns Craig and Frazer’s own afterword. Published originally in two volumes in 1890, this extraordinary study of primitive myth and magic led Scottish anthropologist J.G. Frazer to identify parallel patterns of ritual, symbols and belief across many centuries and many different cultures. His observations on the mysteries of fertility and death, and the rites of the sacrificial king who must die to save his people, overturned much of contemporary intellectual thinking, not least because of the enlightening or ‘heretical’ parallels it suggested with the Christian religion. Frazer’s elegant and authoritative style, and the breadth of his learning inspired a whole generation of ethnographers and comparative anthropologists, and had a particularly powerful effect on many other thinkers and writers such as Sigmund Freud, D.H. Lawrence, Joyce, Yeats and T.S. Eliot. This definitive volume includes the unabridged original 1890 edition as well as several essays and lectures by Frazer. ‘Frazer’s work has epic scale yet mesmerizing fineness of detail. We see the great structures of civilization forming and melting against a background of elemental mystery. The effect is cinematic and sublime.’ Camille Paglia