Michael Robinson – författare

The rise of the Art Nouveau style across Continental Europe and the US in all forms of art was remarkable and is explored in this beautifully illustrated book. Discussing the movement first as a whole, then from the angle of the graphic arts and finally as manifested in the fine arts, it focuses on the style in two dimensions. From the work of well-known figures such as Toulouse-Lautrec, Gaudí and Tiffany to beautiful posters and illustrations advertising everything from coffee to costumes, and even including an exploration of the links to Synthetism and Symbolism among other movements, the book is a treat from start to finish.

This is an essential volume for anyone wanting to learn more about the Pre-Raphaelite Brotherhood and their ethos, and offers the opportunity to study their greatest works in one beautiful collection. This impressive new book opens by looking at key Pre-Raphaelite artists in turn, documenting the artists' lives and the development of their talents. Includes a stunning gallery of more than 290 Pre-Raphaelite works.

A short historical introduction serves to introduce many common stereochemical terms used throughout the book. Chapter two is an account of the structures of simple unstrained organic molecules followed by examples of strained molecules. The third chapter deals with conformational analysis of acyclic and carbocyclic molecules, ending with a short exposition of molecular mechanics. Chapter four is about stereoisomerism in molecules and compounds. A full description of enantiomerism and diastereomerism is followed by an explanation of the nomenclature for absolute and relative configurations of molecules and for topism. A short chapter describes racemates, their resolution, and methods for determining enantiomeric purity. The book concludes with a survey of stereoselective and stereospecific reactions, including the use of chiral catalysts and auxiliaries, rules for predicting stereoselectivity, and double asymmetric synthesis.

The Father; A Dream Play; Miss Julie; The Ghost Sonata; The Dance of Death `Ibsen can sit serenely in his Doll's House,' Sean O'Casey remarked, `while Strindberg is battling with his heaven and his hell.'Strindberg was one of the most extreme, and ultimately the most influential theatrical innovators of the late nineteenth century. The five plays translated here are those on which Strindberg's international reputation as a dramatist principally rests and this edition embraces his crucial transition from Naturalism to Modernism, from his two finest achievements as a psychological realist, The Father and Miss Julie, to the three plays in which he redefined the possibilities of European drama following his return to the theatre in 1898. Michael Robinson's highly performable translations are based on the authoritative texts of the new edition of Strindberg's collected works in Sweden and include the Preface to Miss Julie, Strindberg's manifesto of theatrical naturalism.Introduction Textual Note Bibliography Chronology Explanatory Notes ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The bonds forged in Peace Corps service shaped the field of Korean studiesFrom 1966 through 1981 the Peace Corps sent more than two thousand volunteers to South Korea, to teach English and provide healthcare. A small yet significant number of them returned to the United States and entered academia, forming the core of a second wave of Korean studies scholars. How did their experiences in an impoverished nation still recovering from war influence their intellectual orientation and choice of study—and Korean studies itself?In this volume, former volunteers who became scholars of the anthropology, history, and literature of Korea reflect on their experiences during the period of military dictatorship, on gender issues, and on how random assignments led to lifelong passion for the country. Two scholars who were not volunteers assess how Peace Corps service affected the development of Korean studies in the United States. Kathleen Stephens, the former US ambassador to the Republic of Korea and herself a former volunteer, contributes an afterword.

The bonds forged in Peace Corps service shaped the field of Korean studiesFrom 1966 through 1981 the Peace Corps sent more than two thousand volunteers to South Korea, to teach English and provide healthcare. A small yet significant number of them returned to the United States and entered academia, forming the core of a second wave of Korean studies scholars. How did their experiences in an impoverished nation still recovering from war influence their intellectual orientation and choice of study—and Korean studies itself?In this volume, former volunteers who became scholars of the anthropology, history, and literature of Korea reflect on their experiences during the period of military dictatorship, on gender issues, and on how random assignments led to lifelong passion for the country. Two scholars who were not volunteers assess how Peace Corps service affected the development of Korean studies in the United States. Kathleen Stephens, the former US ambassador to the Republic of Korea and herself a former volunteer, contributes an afterword.

By studying the early splits within Korean nationalism, Michael Robinson shows that the issues faced by Korean nationalists during the Japanese colonial period were complex and enduring. In doing so, Robinson, in this classic text, provides a new context with which to analyze the difficult issues of political identity and national unity that remain central to contemporary Korean politics.

This is a fully edited translation of a series of essays by the great Swedish dramatist August Strindberg. The essays, edited and translated by Michael Robinson, have been selected for the light they shed, both directly and indirectly, on Strindberg's contribution to the European theatre, firstly in such masterpieces of psychological realism as The Father and Miss Julie, and subsequently in those works, including A Dream Play and The Ghost Sonata, with which he largely established a basis for theatrical modernism. Together with the accompanying notes and commentary, these essays on psychology, history, painting, natural history and alchemy as well as the theatre, help to clarify the multifaceted nature of Strindberg's project. Idiosyncratic and lively, they offer crucial insights into the intellectual history of the late nineteenth century, while their personal nature draws the reader into an intimate relationship with the writer and his wide range of interests.

This 1995 critical study of Ibsen's A Doll's House addresses fundamental questions of text, reception and performance. What is the definitive 'version' of A Doll's House: original text, translation, stage presentation, radio version, adaptation to film or television? What occurs when a drama intended for recipients in one language is translated into another, or when a play written for the stage is adapted for radio, television or film? And to what extent do differences between the media and between directorial approaches influence the meaning of the play text? Discussions of these issues include an internal analysis of the dramatic text and comparative performance analysis, framed by the biographical background to the play and its impact on dramas by Strindberg, Shaw and O'Neill and on films by Ingmar Bergman. The book concludes with a list of productions and a select bibliography.

This is the first book to provide a critical history of one of American theatre's most famous plays, Death of a Salesman. Brenda Murphy offers a detailed account of the most significant Salesman productions throughout the world, on the stage as well as in film, radio, and television. The Death of a Salesman that was first realised on stage was the culmination of the creative collaboration among playwright Arthur Miller, director Elia Kazan, and actor Lee J. Cobb, and was the starting point for hundreds of productions in many languages and styles. The play has also provided a number of memorable interpretations by actors such as Dustin Hoffman, George C. Scott, Frederic March, and Mel Gibson. The volume includes a production chronology, bibliography, discography, videography, and photographs from key productions.

This 1995 critical study of Ibsen's A Doll's House addresses fundamental questions of text, reception and performance. What is the definitive 'version' of A Doll's House: original text, translation, stage presentation, radio version, adaptation to film or television? What occurs when a drama intended for recipients in one language is translated into another, or when a play written for the stage is adapted for radio, television or film? And to what extent do differences between the media and between directorial approaches influence the meaning of the play text? Discussions of these issues include an internal analysis of the dramatic text and comparative performance analysis, framed by the biographical background to the play and its impact on dramas by Strindberg, Shaw and O'Neill and on films by Ingmar Bergman. The book concludes with a list of productions and a select bibliography.

Few plays have generated more controversy or had a more extraordinary performance history than Molière's Don Juan. David Whitton's study examines ways in which this enigmatic masterpiece has been interpreted in performance through the vision of different directors and in a variety of cultural and social contexts ranging from pre-revolutionary St Petersburg to post-revolutionary Prague. In a series of critical studies, key productions are reconstructed using prompt books, production notes, photographs, contemporary reviews, memoirs and the author's own experience as a spectator. Among the interpretations discussed are those of Meyerhold, Brecht, Ingmar Bergman, Jouvet, and Chéreau. Each of these productions, in addition to shedding new light on a familiar text, is a theatrical landmark in its own right. The book is illustrated with numerous photographs and contains a geographical-chronological table of productions.

This is a fully edited translation of a series of essays by the great Swedish dramatist August Strindberg. The essays, edited and translated by Michael Robinson, have been selected for the light they shed, both directly and indirectly, on Strindberg's contribution to the European theatre, firstly in such masterpieces of psychological realism as The Father and Miss Julie, and subsequently in those works, including A Dream Play and The Ghost Sonata, with which he largely established a basis for theatrical modernism. Together with the accompanying notes and commentary, these essays on psychology, history, painting, natural history and alchemy as well as the theatre, help to clarify the multifaceted nature of Strindberg's project. Idiosyncratic and lively, they offer crucial insights into the intellectual history of the late nineteenth century, while their personal nature draws the reader into an intimate relationship with the writer and his wide range of interests.

Waiting for Godot is a byword in every major world language. No other twentieth-century play has achieved such global currency. His innovations have affected not only the writing of plays, but all aspects of their staging. In this book David Bradby explores the impact of the play and its influence on acting, directing, design, and the role of theatre in society. Bradby begins with an analysis of the play and its historical context. After discussing the first productions in France, Britain and America, he examines subsequent productions in Africa, Eastern Europe, Israel, America, China and Japan. The book assesses interpretations by actors such as Bert Lahr, David Warrilow, Georges Wilson, Barry McGovern and Ben Kingsley, and directors Roger Blin, Susan Sontag, Sir Peter Hall, Luc Bondy, Yukio Ninagawa and Beckett himself. It also contains an extensive production chronology, bibliography and illustrations from major productions.

This is the first comprehensive study of Brecht's Mother Courage. Peter Thomson locates the sources of the play in Brecht's own experience and heritage, and provides a detailed account of Brecht's own production with the newly formed Berliner Ensemble in 1949. Thomson then explores how the play has been transmitted in the English-speaking theatre from Joan Littlewood's production with the Theatre Workshop Company in 1956 to the Royal National Theatre, with Diana Rigg as Mother Courage, in 1995. The book also examines such influential interpretations as those by William Gaskill, Judi Dench, and Glenda Jackson in the English theatre, and by Herbert Balu and Richard Schechner in America. Seminal productions in France and the Germanies are also discussed. A final chapter highlights the new urgency of the text in light of the wars in the former Yugoslavia, and closes with an account of a triumphant staging in Uganda.

August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognised novelist, autobiographer, and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg's highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the Naturalist Dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre - To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on much later twentieth-century drama. His plays are contextualised for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics, and the visual arts.

One of the most important plays of the twentieth century, A Streetcar Named Desire revolutionised the modern stage. This book offers the first continuous history of the play in production from 1947 to 1998 with an emphasis on the collaborative achievement of Tennessee Williams, Elia Kazan, and Jo Mielziner in the Broadway premiere. From there chapters survey major national premieres by the world's leading directors including those by Seki Sano (Mexico), Luchino Visconti (Italy), Ingmar Bergman (Sweden), Jean Cocteau (France ) and Laurence Olivier (England). Philip Kolin also evaluates key English-language revivals and assesses how the script evolved and adapted to cultural changes. Interpretations by Black and gay theatre companies also receive analyses and transformations into other media, such as ballet, film, television, and opera (premiered in 1998) form an important part of the overall study.

One of the most important plays of the twentieth century, A Streetcar Named Desire revolutionised the modern stage. This book offers the first continuous history of the play in production from 1947 to 1998 with an emphasis on the collaborative achievement of Tennessee Williams, Elia Kazan, and Jo Mielziner in the Broadway premiere. From there chapters survey major national premieres by the world's leading directors including those by Seki Sano (Mexico), Luchino Visconti (Italy), Ingmar Bergman (Sweden), Jean Cocteau (France ) and Laurence Olivier (England). Philip Kolin also evaluates key English-language revivals and assesses how the script evolved and adapted to cultural changes. Interpretations by Black and gay theatre companies also receive analyses and transformations into other media, such as ballet, film, television, and opera (premiered in 1998) form an important part of the overall study.

This is a detailed study of one of the most important plays in contemporary theatre, Who's Afraid of Virginia Woolf?, by Edward Albee. In this fascinating look at the modern stage, Stephen Bottoms draws on original archival material and sources including an exclusive interview with Edward Albee. The Introduction considers the text of the play itself; part one provides a survey of the major productions from 1962 to 1999, with special attention paid to the premiere and the 1966 film version. Part two examines shifting critical responses to the play, demonstrating how changing times and attitudes have altered audience perception of performances. The third and final part offers a detailed examination of five different performances, comparing and contrasting directorial, design and acting approaches to demonstrate how our understanding of the play alters considerably according to its interpretation on stage.

This is a detailed study of one of the most important plays in contemporary theatre, Who's Afraid of Virginia Woolf?, by Edward Albee. In this fascinating look at the modern stage, Stephen Bottoms draws on original archival material and sources including an exclusive interview with Edward Albee. The Introduction considers the text of the play itself; part one provides a survey of the major productions from 1962 to 1999, with special attention paid to the premiere and the 1966 film version. Part two examines shifting critical responses to the play, demonstrating how changing times and attitudes have altered audience perception of performances. The third and final part offers a detailed examination of five different performances, comparing and contrasting directorial, design and acting approaches to demonstrate how our understanding of the play alters considerably according to its interpretation on stage.

Since its explosive premiere in Rome in 1921, Six Characters in Search of an Author has gained worldwide recognition. Pirandello's challenge to the very notion of stage representation was taken up by the leading directors of the time. The playwright incorporated details from the early performances into his revised text, which he directed himself in 1925. Jennifer Lorch examines the two texts in the context of different theatrical traditions and traces Pirandello's growing awareness of the development of advanced theatrical facilities outside Italy. She also offers an analysis of selected productions of the play in Italy, England, France, the USA, Germany and Russia in both commercial and avant-garde theatres. This comprehensive study includes a production chronology, bibliography and illustrations from major productions.

This is the first full production history of Long Day's Journey Into Night, by Eugene O'Neill, one of the most influential plays of the twentieth century. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. Brenda Murphy examines the unique circumstances that led to the posthumous world premiere in Stockholm, in a Swedish translation. Murphy also explores the subsequent first production in English, on Broadway, which established a standard for future directors and actors. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. An extensive production chronology provides details about nearly 100 productions throughout the world. This illustrated history also includes an extensive bibliography, discography and videography.

This is the first full production history of Long Day's Journey Into Night, by Eugene O'Neill, one of the most influential plays of the twentieth century. It provides a detailed account of the most significant productions throughout the world, on stage, film, and television. Brenda Murphy examines the unique circumstances that led to the posthumous world premiere in Stockholm, in a Swedish translation. Murphy also explores the subsequent first production in English, on Broadway, which established a standard for future directors and actors. The book conveys the unique interpretations of the Tyrone family by such actors as Fredric March, Jason Robards, Laurence Olivier, Ralph Richardson, Katharine Hepburn, Colleen Dewhurst, Ruby Dee, Kevin Spacey, Jack Lemmon, and Alan Bates, among other distinguished theatre artists. An extensive production chronology provides details about nearly 100 productions throughout the world. This illustrated history also includes an extensive bibliography, discography and videography.

August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognised novelist, autobiographer, and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg's highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the Naturalist Dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre - To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on much later twentieth-century drama. His plays are contextualised for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics, and the visual arts.

In this book, Fr Jonathan Robinson examines the nature of the Catholic tradition and its teachings about personal prayer. He develops an understanding of tradition that integrates the call to holiness with the need for truth, and shows that a living tradition of prayer is nourished by the objective content of the faith.

The twelve chapters in this volume seek to overcome the nationalist paradigm of Japanese repression and exploitation versus Korean resistance that has dominated the study of Korea’s colonial period (1910–1945) by adopting a more inclusive, pluralistic approach that stresses the complex relations among colonialism, modernity, and nationalism. By addressing such diverse subjects as the colonial legal system, radio, telecommunications, the rural economy, and industrialization and the formation of industrial labor, one group of essays analyzes how various aspects of modernity emerged in the colonial context and how they were mobilized by the Japanese for colonial domination, with often unexpected results. A second group examines the development of various forms of identity from nation to gender to class, particularly how aspects of colonial modernity facilitated their formation through negotiation, contestation, and redefinition.

The first half of this book is a detailed exploration of Turner's life and background. It begins with his early years in London, where he exhibited paintings in the window of his father's barber shop. Through his travels in Europe, copying and studying the old masters, Turner was largely self-taught until he enrolled at the Royal Academy. In 1796 one of his first oil paintings was hung there, and his success culminated in the opening of his own gallery. The second half of the book is a collection of his original works. These superb reproductions are accompanied by analysis of each painting and its significance regarding Turner's life, the period in which it was executed, his technique and his body of work as a whole. This reference book is essential for anyone who wants to learn more about one of the finest landscape painters in English history.

Robinson argues for a model of divine time that allows God to have knowledge of the future without jeopardizing free will. Unlike other books on the subject, Eternity and Freedom insists that a timeless God's knowledge can be affected by creaturely events, as this is a prerequisite for genuine human freedom and divine person interaction with creatures.