Brian Johnston – författare

Brian Johnston's approach to Ibsen, now well known, is unlike any other. Johnston sees Ibsen's twelve realist plays as a single cyclical work, the "realist" method of which hides a much larger poetic intention than has previously been suspected. He believes that the cycle constitutes one of the major works of the European imagination, comparable in scale to Goethe or Dante. And he has shown Ibsen to be the heir to Romantic and Hegelian art and thought, adapting this heritage to the circumstances of his own day.This work demonstrates how the language and scene, characters and "props," of the Ibsen dramas establish a bold and far-reaching theatrical goal: nothing less than an account of our biological and cultural identity in its multilayered totality. Johnston argues that Ibsen's realist text, while stimulating the appearance of nineteenth-century life, also objectively and precisely builds up an alternative image in which archetypal figures and situations from our cultural past repossess the realist stage. Thus he sees the Ibsen "strategy" in his realist plays as twofold: (1) the dialectical subversion of the nineteenth-century reality presented in the plays, and (2) the forced recovery of the archetypal from the past, in a procedure similar to James Joyce's in Ulysses. By "supertext" Johnston means a reservoir of cultural reference upon which Ibsen continuously drew in his realist work just as in is earlier poetic and historical dramas.

To the Third Empire was first published in 1980. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.Critical acclaim greeted Brian Johnston's 1975 book on Ibsen's final phase, The Ibsen Cycle. Choice called it "the single most provocative and critically exciting books of Ibsen criticism in decades." Johnston now turns his attention to the early works, using the same thematic premise - that the plays follow a clear progression, influenced by the Hegalian aesthetic that pervaded Europe in the mid-nineteenth century. The result is an explanation of the early career that demonstrates both its unity and its essential relation to the realistic cycle that followed. In advancing his argument Johnston provides close readings of ten plays, ranging from Cataline to Emperor and Galilean and including Brand and Peer Gynt. Scholars and students of drama, comparative literature, and Ibsen studies will find To the Third Empire an essential work.

This collection supports teachers and other educators to put key ideas about education to work in an accessible way, equipping them to realize the promise of their professional lives. Bridging school, further and higher education contexts, it draws on the distinctive contributions to research and scholarship that have been developed in Scottish education in recent times. Structured in three parts, it focuses first on key ideas and debates in education around posthumanism, education policy, professional standards, decoloniality; antiracism and children’s rights and agency. It then moves to themes specifically related to teachers, including identity, agency, educational leadership, professional learning and more-than-human teachers. The book’s final section deals with approaches to teaching such as curriculum making, creativity, play, outdoor and inquiry-based learning, transitions, and inclusion. Each chapter closes with with reflective questions co-created with practitioners, enabling readers to respond to the challenges, opportunities and recurrent themes that teaching presents.

This collection supports teachers and other educators to put key ideas about education to work in an accessible way, equipping them to realize the promise of their professional lives. Bridging school, further and higher education contexts, it draws on the distinctive contributions to research and scholarship that have been developed in Scottish education in recent times. Structured in three parts, it focuses first on key ideas and debates in education around posthumanism, education policy, professional standards, decoloniality; antiracism and children’s rights and agency. It then moves to themes specifically related to teachers, including identity, agency, educational leadership, professional learning and more-than-human teachers. The book’s final section deals with approaches to teaching such as curriculum making, creativity, play, outdoor and inquiry-based learning, transitions, and inclusion. Each chapter closes with with reflective questions co-created with practitioners, enabling readers to respond to the challenges, opportunities and recurrent themes that teaching presents.

U2’s ongoing popular appeal is constructed in the spaces between band and fan, commercialism and community, spirituality and nihilism; finding meaning in a surface-oriented popular culture and contradiction in the depths of political and faith-based institutions. The band’s long-term success and continued relevance is a result of their ability to hold these energies in tension without one subsuming the other—to live in the liminal space that such contradictions invite. U2’s mythic trajectory was born from a bygone electronic era, realized in our current digital era but with an eye on the forthcoming virtual era; it is a new myth for the whole world, found in the most unlikely of places, popular culture. This book approaches the band’s mythic trajectory through a combination of rhetorical analysis and autoethnographic explorations that unveil the more personal experiences most of us have with media. Drawing heavily upon the works of Marshal McLuhan, Joseph Campbell, Thomas S. Frentz, and Janice Hocker Rushing, Myth, Fan Culture, and the Popular Appeal of Liminality in the Music of U2 unpacks U2’s popular appeal through the lenses of Agape (spiritual, communal love), Amor (romantic love), and Eros (erotic love). Check out the book's official website for additional information: https//:www.u2mythos.com

Exam board: SQALevel: National 5Subject: EnglishFirst teaching: September 2017First exam: Summer 2018Practice makes permanent. Feel confident and prepared for the SQA National 5 English exam with this two-in-one book, containing practice questions for every question type, plus two full practice papers.- Choose which question types you want to revise: A simple grid enables you to pick particular question styles that you want to focus on, with answers provided at the back of the book - Understand what the examiner is looking for: Clear guidance on how to answer each question type is followed by plenty of questions so you can put the advice into practice, building essential exam skills- Remember more in your exam: Repeated and extended practice will give you a secure knowledge of the key areas of the course (Reading for Understanding, Analysis and Evaluation and Critical Reading)- Familiarise yourself with the exam papers: Both practice papers mirror the language and layout of the real SQA papers; complete them in timed, exam-style conditions to increase your confidence before the exams- Find out how to achieve a better grade: Answers to the practice papers have commentaries for each question, with tips on writing successful answers and avoiding common mistakesFully up to date with SQA's requirementsThe questions, mark schemes and guidance in this practice book match the requirements of the revised SQA National 5 English specification for examination from 2018 onwards.

Drawing on texts and theorists of Greek myth, psychoanalysis, and masculinities, Susan Mackey-Kallis and Brian Johnston develop and offer a model of rhetorical and mythic criticism to analyze popular American film. In this book, Mackey-Kallis and Johnston focus their analysis on films that point to the need for father atonement, ego-decentering, and the resurrection of the lost feminine to heal our collective gendered cultural wounds. Many of these “mystic” films, they contend, affirm the role of meaningful suffering, compassion, integration of the feminine, self-sacrifice, and transcendence as antidotes to the inevitable woundedness of the human condition. Ultimately, the authors argue for the importance of digging into the substance of cultural wounds – rather than superficially suturing them over – to change the conversation about woundedness and provide a roadmap for healing gendered relations in contemporary American culture. The book concludes with a discussion of Joseph Campbell’s interpretation of the metaphorical power of myth and its transcendent function to argue for a theory of “us”, rather than a theory of “us versus them.” Scholars of film, gender studies, American studies, cultural studies, gender studies, and psychology will find this book of particular interest.