Charles O'Malley – författare
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4 produkter
4 produkter
Häftad, Engelska, 2000
355 kr
Skickas inom 5-8 vardagar
This definitive edition combines the best plates and text from the great anatomist's Renaissance treasures, including Tabulae Sex, De Humani Corporis Fabrica, and the Epitome. Reproduced from a rare edition, these 96 plates recapture the vitality of the originals. Includes a discussion of the illustrations, a biographical sketch of Vesalius, annotations, and translations.
Inbunden, Engelska, 2023
2 225 kr
Skickas inom 10-15 vardagar
This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies.For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma.This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.
Häftad, Engelska, 2023
608 kr
Skickas inom 10-15 vardagar
This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies.For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma.This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.
- Nyhet
Inbunden, Engelska, 2026
396 kr
Skickas inom 3-6 vardagar
She is more violent than Lady Macbeth, more complex than Ophelia, more strategic than Lear’s daughters. She is the only Shakespearean character, male or female, whose entire life–from youth to old age–appears on stage. She has allowed the likes of Peggy Ashcroft, Helen Mirren and Sophie Okonedo full range for their stunning talents. Yet who was Margaret of Anjou? In the fifteenth century, she was a fourteen-year-old French princess married to an English king, soon thrust into command amid a bloody civil war. A hundred and fifty years later, she is resurrected on the Elizabethan stage in four of Shakespeare’s earliest plays. Since then, every era has recast their own Margaret—highlighted or diminished depending on popular sensibilities around gender. Her story, as it has changed over the centuries across the page and on the stage, shows that Shakespeare’s plays have always been living collaborations among actors, directors, writers, critics and history itself, still unfolding.