Jr – författare

This is a book about why people so often put up with being the victims of their societies and why at other times they become very angry and try with passion and forcefulness to do something about their situation. I his most ambition book to date, Barrington Moore, Jr explores a large part of the world's experience with injustice and its understanding of it. In search of general elements behind the acceptance of injustice he discusses the Untouchables of India, Nazi concentration camps, and the Milgram experiments on obedience to authority.

A collection of compelling quotations from JR—the renowned French photographer, street artist, and activistJR is perhaps best known for taking portraits of regular people, reproducing the images at a monumental scale, and pasting them on the sides of buildings in the subjects’ neighborhoods. Among his many other notable projects are a gigantic photo of a child peering over the top of the barrier at the US-Mexico border and an enormous mural of inmates that covers the ground of an outdoor exercise yard at a California prison. Collected from interviews, writings, and other sources, JR-isms is an inspiring and thought-provoking collection of quotations from the exciting artist and activist, whose work reaches far beyond the traditional art world, from the streets of New York to the suburbs of Paris and the favelas of Brazil.“I was writing my names on walls to say ‘I exist,’ then I started pasting pictures of people with their names to say they exist.”“Art is not supposed to change the world. It can offer a new perspective, a new look, break down the walls we build between us, and humanize the ‘other.’ ”“I always make sure in my art that I even confront my own perspective.”“You know what they say, that the criminal always goes back to the crime scene? It works the same for the artist. When you do something in the street, you come back to see how people approach it. No one knows it’s you, but you’re right there.”

Robert J. Pauly, Jr examines the history of US foreign policy toward the Greater Middle East in general and focuses specifically on the fundamental economic, military and political causes of the 1990-1991 Persian Gulf crisis. He investigates to what extent these causes were internal and external in origin, looks at the principal actors in the crisis, and determines whether and how these actors have continued to drive unfolding events in the Persian Gulf ever since. The volume explores in detail the role of American leaders since 1989, including how far the US should collaborate with Europe to pursue both American and collective Western economic, military and political interests in the Gulf. It also considers the prospects for the future of American-led nation-building operations in Iraq and the outlook for the eventual liberal democratization of the Greater Middle East.

In this timely work, Robert J. Pauly, Jr. looks in detail at the impact of Islam’s presence in Europe. He examines five areas of particular importance: the effect of the growth of Muslim communities on the demographics of Western Europe generally, and France, Germany and the United Kingdom in particular; the consequences of the marginalization of Muslims on domestic and international security within and outside of Western Europe in the post-11 September 2001 era; the impact of the issue of Islam in Europe on the European Union’s ongoing deepening and widening processes; the potential correlation between the increased visibility of Islam in Europe and the growth of far-right political parties across the continent; and the broader relationships between the issues of Islam in Europe, Islam and Europe, and Islam and the West.

Examining the past, present and future formulation and implementation of US foreign policy, this research companion provides a range of interpretations of the topic so that the reader comes away with a clear knowledge of the academic and policy debates that define the field. The volume focuses on American foreign policy from both historical and political science analytical perspectives and divides into three sections: -

Globalization is not a new phenomenon in the international system. However, the various phases of globalization have had divergent scopes, actors, dimensions and dynamics - that is, each of the phases of globalization can be differentiated according to these terms. Against this background, this book focuses on the 'new globalization', a phase that emerged when the Cold War ended and which is, significantly, the most expansive and technologically advanced of all the phases of globalization. The contributors identify and discuss many of the frontier issues in Africa that are being impacted by the dynamics of this new globalization - debt, human rights, development, state sovereignty, the environment, and the HIV/AIDS pandemic. The volume will hold particular interest for students, scholars and researchers of African and development politics.

Examining some of the huge challenges that liberal States faced in the decade after 11 September 2001, the chapters in this book address three aspects of the impact of more than a decade of military action.This book begins by considering four different expressions of universalist moral aspirations, including the prohibition of torture, and discusses migration and ’responsibility to protect,’ as well as the United Nations Human Rights Committee's Concluding Observations about security and liberty in the last decade. International humanitarian law and the problems posed by the territorial character of war and the effects of new technologies and child soldiers are also analysed. Finally, Islamic law and its interface with international law is considered from a new perspective, and contributions in this final part offer a different way of thinking about an authentically Islamic modernisation that would be compatible with Western models of political order. With contributions from international lawyers from diverse backgrounds, this book fills an important gap in the literature on the themes of international human rights law, international humanitarian law and Islamic law.

Globalization is not a new phenomenon in the international system. However, the various phases of globalization have had divergent scopes, actors, dimensions and dynamics - that is, each of the phases of globalization can be differentiated according to these terms. Against this background, this book focuses on the 'new globalization', a phase that emerged when the Cold War ended and which is, significantly, the most expansive and technologically advanced of all the phases of globalization. The contributors identify and discuss many of the frontier issues in Africa that are being impacted by the dynamics of this new globalization - debt, human rights, development, state sovereignty, the environment, and the HIV/AIDS pandemic. The volume will hold particular interest for students, scholars and researchers of African and development politics.

Robert J. Pauly, Jr examines the history of US foreign policy toward the Greater Middle East in general and focuses specifically on the fundamental economic, military and political causes of the 1990-1991 Persian Gulf crisis. He investigates to what extent these causes were internal and external in origin, looks at the principal actors in the crisis, and determines whether and how these actors have continued to drive unfolding events in the Persian Gulf ever since. The volume explores in detail the role of American leaders since 1989, including how far the US should collaborate with Europe to pursue both American and collective Western economic, military and political interests in the Gulf. It also considers the prospects for the future of American-led nation-building operations in Iraq and the outlook for the eventual liberal democratization of the Greater Middle East.

This title was first published in 2002. Knowing God presents an innovative analysis of one of the most difficult and intractable philosophical questions of the past 350 years: the problem of knowledge, and specifically knowledge of God and the transcendental principles of value. This book situates the problem within the context of current social and political struggles, as well as within the contemporary search for meaning and value. Mansueto revisits ancient debates regarding the agent intellect, intentional being, and connatural knowledge, while drawing on recent discussions in neuropsychology (Luria and Damasio), cognitive development theory (Piaget and Luria), and the sociology of knowledge or "ideological criticism" (especially Durkheim, Lukacs, and Gramsci). Including a chapter on forms of religious knowledge and concluding with a ’guide for the perplexed’ intended to help overcome nihilism and despair, Knowing God reconciles epistemological and metaphysical realism with a recognition of the role of social structure in shaping knowledge.

This title was first published in 2002. Knowing God presents an innovative analysis of one of the most difficult and intractable philosophical questions of the past 350 years: the problem of knowledge, and specifically knowledge of God and the transcendental principles of value. This book situates the problem within the context of current social and political struggles, as well as within the contemporary search for meaning and value. Mansueto revisits ancient debates regarding the agent intellect, intentional being, and connatural knowledge, while drawing on recent discussions in neuropsychology (Luria and Damasio), cognitive development theory (Piaget and Luria), and the sociology of knowledge or "ideological criticism" (especially Durkheim, Lukacs, and Gramsci). Including a chapter on forms of religious knowledge and concluding with a ’guide for the perplexed’ intended to help overcome nihilism and despair, Knowing God reconciles epistemological and metaphysical realism with a recognition of the role of social structure in shaping knowledge.

This title was first published in 2001. Exploring issues of diversity and cross-cultural interaction and understanding, Maya Identities and the Violence of Place offers new perspectives on borderlands and identities, providing an important case study of people from Latin America on the move. Examining issues of indigeneity, diaspora, flights from physical violence and economic repression, and efforts to remain indigenous among a proud but beleaguered people, this book is replete with stories of movement and change that operate as means to maintain identity. Thompson examines how the Jacalteco Maya of Latin America form their identities as indigenous people, despite a long tradition of movement across the rigid constraints of borders of geography, history, race and ethnicity. Religion, language, fiestas, and stories of leaving and return, all serve to bond people to their particularity. Examining the indigenous identity formations and religious convictions among the Maya in places where brutality has dominated the landscape and where violence is commonplace, this book avoids dwelling on centers of culture and explains instead how Maya concepts of identity arise from travel, contact with others, and change. Thompson reveals the ironies of classifying as natives', aboriginal or indigenous the many individuals and families who have become refugees, and explores how Maya have transcended the erroneous image of Guatemalan Indians ensconced within borders of particular land, and how they have overstepped popular portrayals of native peoples clinging tenaciously to their sacred soil as their sole means of surviving culturally and spiritually. Showing bleeding borders to be more than a recent occurrence, Thompson argues that there has never been a time when Maya did not have to travel in order to remain who they are. Exploring ideas of human to land connections and how religion among the indigenous makes change and movement possible, this book offers invaluable insight

This title was first published in 2001. Exploring issues of diversity and cross-cultural interaction and understanding, Maya Identities and the Violence of Place offers new perspectives on borderlands and identities, providing an important case study of people from Latin America on the move. Examining issues of indigeneity, diaspora, flights from physical violence and economic repression, and efforts to remain indigenous among a proud but beleaguered people, this book is replete with stories of movement and change that operate as means to maintain identity. Thompson examines how the Jacalteco Maya of Latin America form their identities as indigenous people, despite a long tradition of movement across the rigid constraints of borders of geography, history, race and ethnicity. Religion, language, fiestas, and stories of leaving and return, all serve to bond people to their particularity. Examining the indigenous identity formations and religious convictions among the Maya in places where brutality has dominated the landscape and where violence is commonplace, this book avoids dwelling on centers of culture and explains instead how Maya concepts of identity arise from travel, contact with others, and change. Thompson reveals the ironies of classifying as natives', aboriginal or indigenous the many individuals and families who have become refugees, and explores how Maya have transcended the erroneous image of Guatemalan Indians ensconced within borders of particular land, and how they have overstepped popular portrayals of native peoples clinging tenaciously to their sacred soil as their sole means of surviving culturally and spiritually. Showing bleeding borders to be more than a recent occurrence, Thompson argues that there has never been a time when Maya did not have to travel in order to remain who they are. Exploring ideas of human to land connections and how religion among the indigenous makes change and movement possible, this book offers invaluable insight

The spellbinding premiere of The Weir at the Royal Court in 1997 wasthe first of many works to bring Conor McPherson to the attention ofthe theatre-going public. Acclaimed plays followed, including Shining City,The Seafarer, The Night Alive and Girl from the North Country, garneringinternational acclaim and being regularly produced around the globe.McPherson has also had significant successes as a theatre director, filmdirector and screenwriter, most notably, with his award-winning screenplayfor I Went Down.This companion offers a detailed and engaging critical analysis of theplays and films of Conor McPherson. It considers issues of gender and classdisparity, violence and wealth in the cultural and political contexts in whichthe work is written and performed, as well as the inclusion of song, sound,the supernatural, religious and pagan festive sensibilities through whichinitial genre perceptions are nudged elsewhere, towards the unconscious andineffable. Supplemented by a number of contributed critical and performanceperspectives, including an interview with Conor McPherson, this is a bookto be read by theatre audiences, performance-makers and students who wishto explore, contextualize and situate McPherson’s provocative, exquisite andgeneration-defining writings and performances.

Sarah Ruhl is one of the most highly-acclaimed and frequently-produced American playwrights of the 21st century. Author of eighteen plays and the essay collection 100 Essays I Don’t Have Time to Write, she has won a MacArthur “Genius” Grant and the Steinberg Distinguished Playwright Award, been nominated for a Tony Award for In the Next Room or the vibrator play and twice been a finalist for the Pulitzer Prize for The Clean House and In the Next Room. Ruhl is a writer unafraid of the soul. She writes not about “this or that issue,” but “about being,” creating plays that ask “big questions about death, love, and how we should treat each other in this lifetime.” In this volume, Amy Muse situates Ruhl as an artist-thinker and organizes her work around its artistic and ethical concerns. Through a finely-grained account of each play, readers are guided through Ruhl’s early influences, the themes of intimacy, transcendence, and communion, and her inventive stagecraft to dramatize “moments of being” onstage. Enriched by essays from scholars Jill Stevenson, Thomas Butler, and Christina Dokou, an interview with directors Sarah Rasmussen and Hayley Finn, and a chronology of Ruhl’s life and work, this is a companionable guide for students of American drama and theatre studies.Amy Muse specializes in dramatic literature and performance studies at the University of St. Thomas in St. Paul, Minnesota, where she is Associate Professor and Chair of the English Department. She is the author of “Sarah Ruhl’s Sex Ed for Grownups” (Text & Presentation 2013) and essays on Romantic drama, intimate theatre, female Hamlets, and travel in Romantic Circles, Romanticism: The Journal of Romantic Culture & Criticism, Frontiers, and other journals. METHUEN DRAMA CRITICAL COMPANIONSSeries Editors: Patrick Lonergan (National University of Ireland, Galway)and Kevin J. Wetmore, Jr. (Loyola Marymount University, USA)

The Theatre of Christopher Durang considers the works of one of the foremost comedic writers for the American stage. From Durang’s early success with the controversial Sister Mary Ignatius Explains It All for You (1974) to his recent Tony Award-winning play, Vanya and Sonia and Masha and Spike (2012), he has been an original theatrical voice in American theatre. Edith Oliver, long-time theatre critic for The New Yorker, described Durang as “one of the funniest men in the world.” Durang challenges traditional dramatic idioms with his irreverent comedies that are as shocking as they are prescient and compassionate. This volume provides the first comprehensive examination of Durang’s works and incorporates comedic theory to examine how laughter in performance subverts social conventions and hierarchies. Through a clear, detailed discussion of the plays, Miriam Chirico considers Durang’s use of black comedy, satire, and parody to explode such topics as: western literature, religion, dysfunctional families, and American social malaise. Robert Combs and Jay Malarcher provide additional critical perspectives about Durang’s works, detailing his use of alienation techniques and locating his place within the American parodic tradition. The book also includes a warm introduction by Durang’s former student, Pulitzer Prize-winner, David Lindsay-Abaire. The Theatre of Christopher Durang, in demonstrating how Durang has shaped contemporary theatrical possibilities, offers a valuable guide for students of American drama and comedy.

In this volume, Lee Brewer Jones examines Paula Vogel as both a playwright and renowned teacher, analyzing texts and early reviews of Vogel’s major plays—including Indecent, Desdemona, How I Learned to Drive, and The Baltimore Waltz—before turning attention to her influence upon other major American playwrights, including Sarah Ruhl, Lynn Nottage, and Quiara Alegría Hudes. Chapters explore Vogel’s plays in chronological order, consider her early influences and offer detailed accounts of her work in performance. Enriched by an interview with Lynn Nottage and essays from scholars Ana Fernández-Caparrós and Amy Muse, this is a vibrant exploration of Paula Vogel as a major American playwright.By the time Paula Vogel made her Broadway debut with her 2017 Rebecca Taichman collaboration Indecent, she was already an accomplished playwright, with a Pulitzer Prize for How I Learned to Drive (1998) and two Obie Awards. She had also enjoyed a brilliant career as a professor at Brown and Yale with students such as Sarah Ruhl, a MacArthur “Genius” Grant winner, Pulitzer Prize winners Nilo Cruz, Quiara Alegría Hudes, and the only woman to win two Pulitzers for Drama, Lynn Nottage. Vogel’s theatre draws upon Russian Formalist Viktor Shklovsky and uses devices such as “defamiliarization” and “negative empathy” to challenge conventional definitions of protagonists and antagonists.

In this volume, Lee Brewer Jones examines Paula Vogel as both a playwright and renowned teacher, analyzing texts and early reviews of Vogel’s major plays—including Indecent, Desdemona, How I Learned to Drive, and The Baltimore Waltz—before turning attention to her influence upon other major American playwrights, including Sarah Ruhl, Lynn Nottage, and Quiara Alegría Hudes. Chapters explore Vogel’s plays in chronological order, consider her early influences and offer detailed accounts of her work in performance. Enriched by an interview with Lynn Nottage and essays from scholars Ana Fernández-Caparrós and Amy Muse, this is a vibrant exploration of Paula Vogel as a major American playwright.By the time Paula Vogel made her Broadway debut with her 2017 Rebecca Taichman collaboration Indecent, she was already an accomplished playwright, with a Pulitzer Prize for How I Learned to Drive (1998) and two Obie Awards. She had also enjoyed a brilliant career as a professor at Brown and Yale with students such as Sarah Ruhl, a MacArthur “Genius” Grant winner, Pulitzer Prize winners Nilo Cruz, Quiara Alegría Hudes, and the only woman to win two Pulitzers for Drama, Lynn Nottage. Vogel’s theatre draws upon Russian Formalist Viktor Shklovsky and uses devices such as “defamiliarization” and “negative empathy” to challenge conventional definitions of protagonists and antagonists.

Verse drama is not a dead form, but very much alive on the contemporary stage. Drawing on plays from throughout the English-speaking world, including the United States, United Kingdom, Ireland, and the Caribbean, Staging the Lyric seeks to explain the 21st-century resurgence of Anglophone verse drama, tracing it back to an experimental impulse that is present in the modernist verse drama of a century ago.Covering major writers including Derek Walcott, Seamus Heaney, Sylvia Plath, Samuel Beckett, Dorothy Sayers, Djuna Barnes, and Ntozake Shange, it also encompasses lesser known and more recent poets and playwrights. This modern verse drama differs from its ancient and Elizabethan antecedents as it is understood not as a genre in its own right, but as a hybrid of the lyric and the dramatic. Both modernist and contemporary writers take advantage of this hybridity as fertile ground for experimentation. While they differ in their ideology and form, this book contends that they are united by exploring the relationship between lyric and dramatic elements on stage and what these two different modes afford. To demonstrate this continuity, it traces a genealogy from contemporary plays by Joanna Laurens, Joyelle McSweeney, and David Grieg back to W.B. Yeats, Gertrude Stein, T.S. Eliot, and W.H. Auden, to reveal that the tensions that animate verse drama have stayed the same, even as the strategies for staging them have evolved.The book is divided into three sections—‘Voice,’ ‘Words,’ and ‘Time’—each treating one feature that has been used to define the lyric. Within these sections, the chapters compare contemporary plays with modernist ones that experiment with the same point of tension between the lyric and the dramatic.

The Theatre of Caryl Churchill documents and analyses the major plays and productions of one of Britain’s greatest and most innovative playwrights. Drawing on hundreds of never-before-seen archival sources from the US and the UK, it provides an essential guide to Churchill’s groundbreaking work for students and theatregoers. Each chapter illuminates connections across plays and explores major scripts alongside unpublished and unfinished projects. Each considers the rehearsal room, the stage, and the printed text. Each demonstrates how Churchill has pushed the boundaries of dramatic aesthetics while posing urgent political and theoretical questions. But since each maps Churchill’s work in a different way, each deploys a different reading practice - for many approaches are necessary to characterise such a restlessly imaginative and prolific career. Through its five interlocking parts, The Theatre of Caryl Churchill tells a story about the playwright, her work, and its place in contemporary drama.

David Greig has been described as 'one of the most interesting and adventurous British dramatists of his generation' (Daily Telegraph) and 'one of the most intellectually stimulating dramatists around' (Guardian). Since he began writing for theatre in the early nineties, his work has been both copious and remarkably varied, defying neat generalisations or attempts to pigeon-hole his work. Besides his original plays, he has adapated classics, is co-founder of the Suspect Culture Theatre Group and is currently Dramaturge for the National Theatre of Scotland. This Critical Companion provides an analytical survey of his work, from his early plays such as Europe and The Architect through to more recent works Damascus, Dunsinane and Ramallah; it also considers the plays produced with Suspect Culture and his work for young audiences. As such it is the first book to provide a critical account of the full variety of his work and will appeal to students and fans of contemporary British theatre.Clare Wallace provides a detailed analysis of a broad selection of plays and their productions, reviews current discourses about his work and offers a framework for enquiry. The Companion features an interview with David Greig and a further three essays by leading academics offering a variety of critical perspectives.

Martin McDonagh is one of the world's most popular dramatists. This is a highly readable and illuminating account of his career to date that will appeal to the legions of fans of his work for the stage and of his films Six Shooter and In Bruges. As a resource for students and practitioners it is unrivalled, providing an authoritative and enquiring approach to his work that moves beyond the tired discussions of national identity to offer a comprehensive critical exploration. Lonergan provides a detailed analysis of each of his plays and films, their original staging, critical reception, and the connections within and between the Leenane Trilogy, the Aran Islands plays and more recent work. It includes interviews with directors, designers and actors associated with his work and material from Druid Theatre Company, the RSC and the National Theatre relating to the original productions. It offers four critical essays on key features of McDonagh's work by leading international scholars and a series of further resources including a chronology, glossary, notes on McDonagh's use of language and a list of further reading.

The Irish Dramatic Revival was to radically redefine Irish theatre and see the birth of Ireland’s national theatre, the Abbey, in 1904. From a consideration of such influential precursors as Boucicault and Wilde, Anthony Roche goes on to examine the role of Yeats as both founder and playwright, the one who set the agenda until his death in 1939. Each of the major playwrights of the movement refashioned that agenda to suit their own very different dramaturgies.Roche explores Synge’s experimentation in the creation of a new national drama and considers Lady Gregory not only as a co-founder and director of the Abbey Theatre but also as a significant playwright. A chapter onShaw outlines his important intervention in the Revival. O’Casey’s four ground-breaking Dublin plays receive detailed consideration, as does the new Irish modernism that followed in the 1930s and which also witnessedthe founding of the Gate Theatre in Dublin.The Companion also features interviews and essays by leading theatre scholars and practitioners Paige Reynolds, P.J. Mathews and Conor McPherson who provide further critical perspectives on this period of radical change in modern Irish theatre.

Jez Butterworth is the most critically acclaimed and commercially successful new British dramatist of the 21st century: his acclaimed play Jerusalem has had extended runs in the West End and on Broadway. This book is the first to examine Butterworth's writings for stage and film and to identify how and why his work appeals so widely and profoundly. It examines the way that he weaves suspenseful stories of eccentric outsiders, whose adventures echo widespread contemporary social anxieties, and involve surprising expressions of both violence and generosity. This book reveals how Butterworth unearths the strange forms of wildness and defiance lurking in the depths and at the edges of England: where unpredictable outbursts of humour highlight the intensity of life, and characters discover links between their haunting past and the uncertainties of the present, to create a meaningful future. Supplemented by essays from James D. Balestrieri and Elisabeth Angel-Perez, this is a clear and detailed source of reference for a new generation of theatre audiences, practitioners and directors who wish to explore the work of this seminal dramatist.

Bertolt Brecht’s silent Kattrin in Mother Courage, or the disability performance lessons of his Peachum in The Threepenny Opera; Tennessee Williams’ limping Laura Wingfield in The Glass Menagerie and hard-of-hearing Bodey in A Lovely Sunday for Creve Coeur; Samuel Beckett’s blind Hamm and his physically disabled parents Nagg and Nell in Endgame – these and many further examples attest to disability’s critical place in modern drama. This Companion explores how disability performance studies and theatre practice provoke new debate about the place of disability in these works. The book traces the local and international processes and tensions at play in disability theatre, and offers a critical investigation of the challenges its aesthetics pose to mainstream and traditional practice. The book’s first part surveys disability theatre’s primary principles, critical terms, internal debates and key challenges to theatre practice. Examining specific disability theatre productions of modern drama, it also suggests how disability has been re-envisaged and embodied on stage. In the book’s second part, leading disability studies scholars and disability theatre practitioners analyse and creatively re-imagine modern drama, demonstrating how disability aesthetics press practitioners and scholars to rethink these works in generative, valuable and timely ways.

Bertolt Brecht’s silent Kattrin in Mother Courage, or the disability performance lessons of his Peachum in The Threepenny Opera; Tennessee Williams’ limping Laura Wingfield in The Glass Menagerie and hard-of-hearing Bodey in A Lovely Sunday for Creve Coeur; Samuel Beckett’s blind Hamm and his physically disabled parents Nagg and Nell in Endgame – these and many further examples attest to disability’s critical place in modern drama. This Companion explores how disability performance studies and theatre practice provoke new debate about the place of disability in these works. The book traces the local and international processes and tensions at play in disability theatre, and offers a critical investigation of the challenges its aesthetics pose to mainstream and traditional practice. The book’s first part surveys disability theatre’s primary principles, critical terms, internal debates and key challenges to theatre practice. Examining specific disability theatre productions of modern drama, it also suggests how disability has been re-envisaged and embodied on stage. In the book’s second part, leading disability studies scholars and disability theatre practitioners analyse and creatively re-imagine modern drama, demonstrating how disability aesthetics press practitioners and scholars to rethink these works in generative, valuable and timely ways.