The arts: general topics Books

Book SynopsisDeveloping Musicianship through Aural Skills, Third Edition, is a comprehensive method for learning to hear, sing, understand, and use the foundations of music as part of an integrated curriculum, incorporating both sight singing and ear training in one volume. Under the umbrella of musicianship, this textbook guides students to hear what they see, and see what they hear, with a trained, discerning ear on both a musical and an aesthetic level.Key features of this new edition include: Revised selection of musical examples, with added new examples including more excerpts from the literature, more part music, and examples at a wider range of levels, from easy to challenging New instructional material on dictation, phrase structure, hearing cadences, and reading lead sheets and Nashville number charts An updated website that now includes a comprehensive Teacherâs Guide with sample lesson plans, supplemental assignments, and test banks; instructional videos; and enhanced dictation exercises. The text reinforces both musicianship and theory in a systematic method, and its holistic approach provides students the skills necessary to incorporate professionalism, creativity, confidence, and performance preparation in their music education. Over 1,600 musical examples represent a wide range of musical styles and genres, including classical, jazz, musical theatre, popular, and folk music. The third edition of Developing Musicianship through Aural Skills provides a strong foundation for undergraduate music students and answers the need for combining skills in a more holistic, integrated music theory core.Table of ContentsPrefaceThe MethodSyllable SystemsReading in ClefsModule 1: Simple MetersModule 1a: Simple Beats and Their First Division and Multiple Note ValuesModule 1b: Simple Duple and Quadruple MetersModule 1c: Simple Triple MetersModule 1d: Second Division and Multiple of the Beat in Simple MetersModule 1e: RestsModule 1f: Ties and Dotted Rhythms in Simple MetersModule 1g: The AnacrusisModule 1h: Less Common Simple MetersModule 2: Major and Minor Scales and Scale DegreesModule 2a: Major Scales and Scale DegreesModule 2b: Minor Scales and Scale DegreesModule 3: ImprovisationModule 3a: Introduction to ImprovisationModule 3b: Methods for Improvisation and Improvising Tonic FunctionModule 3c: Improvising Dominant FunctionModule 3d: Improvising Predominant FunctionModule 3e: Improvisation Through ArpeggiationModule 4: Compound MetersModule 4a: Compound Beats and Their First Division and Multiple Note ValuesModule 4b: Second Division of the Beat in Compound MeterModule 4c: Less Common Compound MetersModule 5: IntervalsModule 5a: Hearing and Singing Intervals AcontextuallyModule 5b: Major and Minor SecondsModule 5c: Major and Minor ThirdsModule 5d: Perfect Fifths and OctavesModule 5e: Perfect FourthsModule 5f: Minor and Major SixthsModule 5g: TritonesModule 5h: Minor and Major SeventhsModule 6: TriadsModule 6a: Hearing and Singing Acontextual TriadsModule 6b: Root Position Major TriadsModule 6c: Root Position Minor TriadsModule 6d: Inverted Major and Minor TriadsModule 6e: Diminished TriadsModule 7: Seventh ChordsModule 7a: Singing and Hearing Seventh Chords AcontextuallyModule 7b: Dominant Seventh Chords in Root PositionModule 7c: Dominant Seventh Chords in InversionModule 7d: Minor Seventh ChordsModule 7e: Half-Diminished Seventh ChordsModule 7f: Fully-Diminished Seventh ChordsModule 7g: Major Seventh ChordsModule 8: Common Diatonic Harmonic ProgressionsModule 8a: Cadences and PhrasingModule 8b: The TPDT ProgressionModule 8c: Circle of Fifths ProgressionsModule 8d: Filled-In Descending Thirds (Pachelbel) ProgressionsModule 8e: Ascending Sequential ProgressionsModule 9: Irregular Division and SyncopationModule 9a: TripletsModule 9b: DupletsModule 9c: Syncopation Within a Measure (Intra-measure Syncopation)Module 9d: Syncopation Across a Barline (Inter-measure Syncopation)Module 9e: Triplets in Augmentation and DiminutionModule 9f: Other Divisions of the BeatModule 9g: Reading Complex RhythmsModule 10: Non-modulating ChromaticismModule 10a: The Chromatic Scale and Surface ChromaticismModule 10b: Modal MixtureModule 10c: Secondary Chords in the Major ModeModule 10d: Secondary Chords in the Minor ModeModule 10e: Neapolitan and Augmented Sixth ChordsModule 10f: Extended, Added Note, and Altered ChordsModule 11: ModulationModule 11a: Techniques for ModulationModule 11b: Modulation Between Relative KeysModule 11c: Modulation to the DominantModule 11d: Modulation to Other Closely Related KeysModule 11e: Modulation to Distantly Related KeysModule 12: Changing Meter, Polyrhythm, and Asymmetric MetersModule 12a: Changing MeterModule 12b: Metric ModulationModule 12c: Polyrhythms and PolymetersModule 12d: Meters with Unequal BeatsModule 13: Other Tonally Derived ScalesModule 13a: Pentatonic and Blues ScalesModule 13b: The Ecclesiastic ModesModule 13c: Synthetic ScalesModule 13d: Polytonality and PolymodalityModule 14: Post-tonal MusicModule 14a: Whole Tone and Octatonic ScalesModule 14b: Post-tonal MusicAppendicesAppendix A Glossary of Non-English Musical TermsAppendix B Using Your Voice: Suggestions for Vocal Production for Non-singersIndex of Literature ExamplesCredits

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Book SynopsisDesigned to help students and interested general readers to interpret the abstract expressionist paintings of Jackson Pollock, this survey of Pollock''s life and art provides insight into the origins and meanings of individual works and analyzes the influences upon Pollock. Also included are discussions of the many issues raised by Pollock''s work above and beyond his intentions, and how they intersected with the work of his contemporaries as well as other intellectual currents of the time.Table of ContentsPart One: Meaning Chapter 1: Formative Work Chapter 2: Surrealism Chapter 3: The Poured Paintings Chapter 4: The Black Pourings and After Part Two: Significance Chapter 5: Pollock and Primitivism Chapter 6: Pollock and Abstract Expressionism Chapter 7: Pollock’s Influence Conclusion

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Book SynopsisDesigned Landscapes is a case-by-case study of 37 significant, existing works of landscape design worldwide, largely constructed since the Renaissance. Being an informative and easy-to-read reference volume for practitioners and students alike, it presents key precedents in landscape architecture using site plans and recent photographs to showcase each project.Organised and presented in 12 sections based on project type, each project is examined based on date, previous site condition, designer(s), design intentions, current composition, unique features, ownership and management, and comparable projects. Each chapter offers an insightful critique of the featured projects.Written by the authors of Great City Parks, the book posits that these carefully selected key projects have maintained their status throughout the ages because they express values and design intentions that continue to inform the practice of the landscape architecture in the present day. The book concludes with a ten-point summary of lessons for professional practice gleaned from the studies.Including a wide range of case studies from countries including many in western Europe, the United States, Canada, India, Japan and China, and lavishly illustrated with over 200 full-colour images, the book is a must-have volume for anyone interested in the history and current practice of landscape architecture. Table of Contents1. Water 1.1 Villa Lante, Bagnaia, Viterbo, Italy – Terraced water garden 1.2 Shalimar Bagh, Srinagar, Kashmir, India – Moghal pleasure garden 1.3 Miroir d’eau, Bordeaux, France – Water feature / focus of urban regeneration 2. Landform 2.1 Dumbarton Oaks, Georgetown, Washington DC, USA – Terraced hillside garden 2.2 Parc Diderot, Courbevoie, France – Plunging landform 2.3 Northala Fields, Ealing, London – Conical roadside earthworks 3. Plant Collections 3.1 Villandry, Indre-et-Loire, France – Renaissance château garden + potager extraordinaire 3.2 Hidcote Manor, Gloucestershire, England – Manor house garden 4. Enclosed Spaces 4.1 Courtyards of the Alhambra, Granada, Spain – Moorish courtyards 4.2 Wang Shi Yuan, Suzhou, PR China – Classical Chinese garden 4.3 Paley Park, East 53rd Street, New York, USA – Pocket park 5. Private Gardens 5.1 Entsu-ji, Kyoto, Japan – Zen monastery garden 5.2 Miller Garden, Columbus, Indiana, USA – Domestic garden 5.3 Little Sparta, Stonypath, Lanarkshire, Scotland – Concrete poet’s garden 6. Commemorative Landscapes 6.1 Mount Auburn Cemetery, Cambridge, Massachusetts, USA – Rural cemetery 6.2 Skogskyrkogården, Stockholm, Sweden – Forest cemetery 6.3 Kennedy Memorial, Runnymede, Surrey, England – Memorial to president of United States 7. Private Parkland 7.1 Vaux-le-Vicomte, Maincy, France – Baroque chateau garden 7.2 Rousham Park, Oxfordshire, England – Arcadian parkland 7.3 Bloedel Forest Reserve, Washington State, USA – Forest reserve 7.4 Kröller-Müller Sculpture Garden, Netherlands – Sculpture garden 8. City Parks 8.1 Parc des Buttes-Chaumont, Paris, France – City park on restored site 8.2 Prospect Park, Brooklyn, New York, USA – American pastoral city park 8.3 Landschaftspark, Duisburg-Nord, Germany – Post industrial city park 9. Campuses 9.1 Academical Village, University of Virginia, USA – University campus 9.2 St Catherine’s College, Oxford, England – University college campus 9.3 Deere & Company World Headquarters, Moline, Illinois, USA – Corporate headquarters 9.4 Robson Square, Vancouver, Canada – Government precinct 10. Linear Landscapes 10.1 Grand Rounds, Minneapolis, Minnesota, USA – Urban parkway 10.2 Blue Ridge Parkway, Virginia and North Carolina, USA – Rural parkway / national park 10.3 Promenade Samuel de-Champlain, Quebec City, Canada – Riverfront boulevard 11. Housing Landscapes 11.1 Chatham Village, Pittsburgh, USA – Garden suburb 11.2 Lafayette Park, Detroit, USA – Inner city housing 12. Urban Landscapes 12.1 Pienza, Val d’Orcia, Italy – Renaissance urbanism / medieval townscape 12.2 Savannah Wards and Squares, Georgia, USA – Enlightenment urbanism 12.3 Place Stanislas and Place de la Carrière, Nancy, France – Enlightenment civic design 12.4 Edinburgh New Town, Scotland – Georgian city extension

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Book SynopsisArt and Design Pedagogy in Higher Education provides a contemporary volume that offers a scholarly perspective on tertiary level art and design education. Providing a theoretical lens to examine studio education, the authors suggest a student-centred model of curriculum that supports the development of creativity.The text offers readers analytical frameworks with which to challenge assumptions about the art and design curriculum in higher education. In this volume, Orr and Shreeve critically interrogate the landscape of art and design higher education, offering illuminating viewpoints on pedagogy and assessment. New scholarship is introduced in three key areas: curriculum: the nature and purpose of the creative curriculum and the concept of a sticky curriculum' that is actively shaped by lecturers, technicians and students; ambiguity, which the authors claim is at the heart of a creative education; value, asking whatTable of ContentsPart One: Art and Design Education Territories 1. Introduction 2. Knowledge and knowing in practice 3. The construction and meaning of value/s 4. Ambiguity and uncertainty in creative education Part Two: Art and Design Eduation Practices 5. The sticky curriculum in art and design: identity and engagement 6. Teaching practices for creative practitioners 7. Realising the curriculum in art and design: the role of the project 8. Art School evaluation: process, product and person 9. Drawing Conclusions

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Book SynopsisMapping Paradigms in Modern and Contemporary Art defines a new cartographic aesthetic, or what Simonetta Moro calls carto-aesthetics, as a key to interpreting specific phenomena in modern and contemporary art, through the concept of poetic cartography. The problem of mapping, although indebted to the spatial turn of poststructuralist philosophy, is reconstructed as hermeneutics, while exposing the nexus between topology, space-time, and memory. The book posits that the emergence of mapping as a ubiquitous theme in contemporary art can be attributed to the power of the cartographic model to constitute multiple worldviews that can be seen as paradigmatic of the post-modern and contemporary condition. This book will be of particular interest to scholars in art history, art theory, aesthetics, and cartography.Table of ContentsIntroduction. The Question of Mapping Part 1: Archaeologies 1. Travelers Without Maps 2. Mapping in the Age of the World Picture Part 2: Topologies 3. Topologies of Difference 4. Carto-aesthetics: Modalities of Art Making 5. Poetic Cartography as Nomadic Mapping Conclusion. After the End of the World Picture Appendix. Mapping in the Time of Global Pandemic

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Book SynopsisGeorgian Dublin is synonymous with a period of unprecedented expansion in the market for luxury goods. At a time when new commodities, novel technologies and fashionable imports seduced elite society, silver enjoyed an established association with gentility and prestige. Earlier studies have focused predominantly on the issue of style. This book considers the demand for silver goods in Georgian Ireland from the perspectives of makers, retailers and consumers. It discusses the practical and symbolic uses of silverware, interpreted through contemporary guild accounts, inventories, trade ephemera and culinary manuscripts. For the first time the activities of Dublin''s goldsmiths and their customers are considered in the context of the British Isles, acknowledging Dublin''s ''second city'' status in relation to London. How did the availability of new products like English porcelain and Sheffield Plate affect the demand for silver in Dublin, and how did silver imports from London affect theTrade Review"This comprehensive study in Taylor & Francis’s Histories of Material Culture and Collecting 1700-1950 series combines recent scholarship with new research and places the achievements of Dublin goldsmiths in a wider international context." --The Art Newspaper"This ground-breaking work provides a fresh and exciting new perspective on the history of eighteenth-century Irish silver. ...Based on meticulous research, this study uses a wealth of documentary and artefactual evidence and draws on the most current international scholarship. It complements the established tradition of connoisseurship in Irish silver studies, and makes eminently accessible a topic that was once decidedly more niche. Exceptionally well informed and highly readable, this study takes its rightful place as a key point of reference in Irish silver studies."--Eighteenth-Century Ireland'This study of the making, buying and uses of silver in eighteenth-century Dublin breaks much new ground. It moves away from rarefied connoisseurship, to place silver objects firmly in their economic, social and cultural contexts. While showing what was distinctive about the Irish products, it places them authoritatively in wider worlds of fashionable consumption among the polite and would-be polite. Also, it emphasizes the ease with which styles current in continental Europe and Britain, and found in ceramics, decor and furnishings, could be adapted to silver. Alison FitzGerald’s accomplished and accessible book immediately takes its place as one of the most notable in the gradually expanding literature on the applied and decorative arts in Ireland." --Toby Barnard, University of Oxford"Alison FitzGerald’s excellent new volume on the making and marketing of silver in Georgian Dublin is at once an eminently readable socioeconomic history and a major contribution to the scholarly literature. Building on the enlightening work of recent silver scholars and social historians who have deconstructed the trade and reconstructed the processes, FitzGerald has combed a wealth of primary sources to produce a compelling, clearly integrated, and exceptionally informative study." --Beth Carver Wees, Ruth Bigelow Wriston Curator of American Decorative Arts, The Metropolitan Museum of Art"Alison FitzGerald’s Silver in Georgian Dublin transforms the way we think about the eighteenth-century decorative arts, both in Ireland and beyond. It explores the whole range of silver objects made, sold and used in Ireland, from the finest dinner services to humble teaspoons. It compares Dublin goldsmiths to their counterparts across the eighteenth-century Atlantic world, in London, Philadelphia and Boston. In the process, it raises challenging questions about the Irishness of eighteenth-century Irish silver. Grounded in a comprehensive assessment of surviving objects and manuscripts, its analysis draws on the most up-to-date international scholarship. Silver in Georgian Dublin is a pathbreaking book. It will cement Alison FitzGerald’s reputation as a leading expert on Irish design and decorative art." --John Styles, University of Hertfordshire and Victoria and Albert MuseumTable of ContentsIntroduction 1 The Business of Becoming a Goldsmith in Eighteenth-Century Dublin 2 Goldsmiths and Market Forces in Eighteenth-Century Ireland3 Shopping for Plate in Dublin and London 4 Silver and Its Meaning in Georgian Ireland5 The Silver Trade in Post-Union Ireland Conclusion

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Book SynopsisIn the twenty-first century there is increasing global recognition of pain relief as a basic human right. However, as Susan Honeyman argues in this new take on child pain and invisible disability, such a belief has historically been driven by adult, ideological needs, whereas the needs of children in pain have traditionally been marginalised or overlooked in comparison. Examining migraines in children and the socially disabling effects that chronic pain can have, this book uses medical, political and cultural discourse to convey a sense of invisible disability in children with migraine and its subsequent oppression within educational and medical policy. The book is supported by authentic migraineursâ experiences and first-hand interviews as well as testimonials from a range of historical, literary, and medical sources never combined in a child-centred context before. Representations of child pain and lifespan migraine within literature, art and popular culture are also pulledTrade Review'The Western contemporary ethos confers innocence and nostalgia on childhood, a tendency that too often belittles, denies or oversimplifies the suffering that real children experience. Young sufferers from migraine are consummate examples of this dilemma, as Susan Honeyman documents well in Child Pain, Migraine and Invisible Disability. Health care providers, who generally ask children to report pain using a reductionist single answer on a pain scale, would do well to consider Honeyman’s complex, humane account (including first-person narratives).'—Cindy Dell Clark, Rutgers University, U.S.A'The Western contemporary ethos confers innocence and nostalgia on childhood, a tendency that too often belittles, denies or oversimplifies the suffering that real children experience. Young sufferers from migraine are consummate examples of this dilemma, as Susan Honeyman documents well in Child Pain, Migraine and Invisible Disability. Health care providers, who generally ask children to report pain using a reductionist single answer on a pain scale, would do well to consider Honeyman’s complex, humane account (including first-person narratives).'—Cindy Dell Clark, Rutgers University, U.S.A"I cannot write a dispassionate review of this book. I read sections of this book aloud to my partner, who was my companion through twelve years of migraine. I wept in recognition and fulminated on behalf of my fellow migraineurs. I became intensely angry on behalf of today’s child migraineurs for whom not only many things not have become better, but for whom modern ideologies of education have created an increasingly hostile environment. This book needs to be in paperback and Kindle, and a copy needs to be handed to every medical student and teacher." --Farah Mendlesohn, The Lion and the UnicornTable of ContentsList of FiguresPreface: a Note to ReadersAcknowledgementsIntroduction Migraine as Invisible Disability A History of Pediatric Pain and the Politics of Pill Culture Materia Medica Testifying Against Trigemony Visibility Machines and Pain Proxies ConclusionAfterword: Scars (a Migraine Diary)AppendixReferencesIndex

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Book SynopsisThis book is an exploratory adventure to defamiliarize calligraphy, especially Persian Nastaliq calligraphic letterforms, and to look beyond the tradition that has always considered calligraphy as pursuant to and subordinate to linguistic practices.Calligraphy can be considered a visual communicative system with different means of meaning-making or as a medium through which meaning is made and expression is conveyed via a complex grammar. This study looks at calligraphy as a systematic means in the field of visual communication, rather than as a one-dimensional and ad hoc means of providing visual beauty and aesthetic enjoyment. Revolving around different insights of multimodal social semiotics, the volume relies on the findings of a corpus study of Persian Nastaliq calligraphy. The research emphasizes the way in which letterforms, regardless of conventions in language, are applied as graphically meaningful forms that convey individual distinct meanings.This volume on PeTable of Contents1. Introduction 2. Corpus Analysis 3. Graphetic Analysis 4. Toward Semiotics of Nastaliq Calligraphy 5. Holliday's Triple Metafunctions: As Requisite of Any Semiotic Mode – In Nastaliq Calligraphy 6. Toward A Distinct Feature Analysis 7. Conclusion

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Book SynopsisThe teaching of the arts and literacy in schools is often at odds with one another. The desire for schools to improve results on high-stakes testing can lead to a narrow view of literacy rather than one that acknowledges the unique and distinct literacies that exist in other curriculum areas including the arts. With methods of communication becoming increasingly complex, it will be more and more important for students to be able to utilise all semiotic modes. Developing Literacy and the Arts in Schools investigates this key issue in education and offers a solution to the negative relationship between the arts and literacy. Drawing on interview data and evidence from diverse classrooms, it explores the pedagogies of effective arts practitioners and teachers, and how they relate to theoretical frameworks, to unpack the key elements of effective practice related to literacy and the arts. A model of arts-literacies is provided to assist arts and literacy educators iTable of ContentsLists of Tables, Figures, TranscriptsAcknowledgementsSECTION I: Theorising the Arts and Literacy in SchoolsChapter 1. The State of the Arts and Literacy in SchoolsChapter 2. Being Literate in the 21st Century and BeyondChapter 3. Multimodality, Semiotics and Meaning-MakingChapter 4. The Arts and Literacy Are Synchronous: Exploring a Model of Theory and PracticeChapter 5. Literacy Demands, and Reading and Writing in the ArtsChapter 6. How the Arts Support Diverse Learners in LiteracySECTION II: Classroom Practice in the Arts and LiteracyChapter 7. Dance Literacies as Embodied and Expressive AestheticsChapter 8. Drama Literacies: Exploring Self, Space and TimeChapter 9. Music Literacy: An Aural ArtChapter 10. Visual Art Literacies: ‘Seeing’ Through the Modes Chapter 11. Creative and Multimodal Writing Across the School YearsSECTION III: Arts-Literacies MatterChapter 12. Conclusion: Arts-Literacies Matter

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Book SynopsisThis book brings a practitioner's insight to bear on socially situated art practice through a first-hand glimpse into the development, organisation and delivery of art projects with social agendas. Issues examined include the artist's role in building creative frameworks, the relationship of collaboration to participation, management of collective input, and wider repercussions of the ways that projects are instigated, negotiated and funded. The book contributes to ongoing debates on ethics/aesthetics for art initiatives where process, product and social relations are integral to the mix, and addresses issues of practical functionality in relation to social outcome. Trade Review"Given the increasing interest in socially engaged art, this is a timely and inspiring book. It offers many insights into the process of making community art from the 1970’s to the present through the work of a significant contributor to the field, and clearly explores the challenges facing artists who wish to collaborate with communities." -- Beverly Naidus, University of Washington Tacoma, USA"This clear, comprehensive study, combining history, theory and practice reveals a critically astute insider hard at work in the field she helped pioneer." -Gregory Sholette, Queens College CUNY, USATable of ContentsIntroduction Part 1: Contexts and Case Studies 1. Seventies1.1 London/Berlin Series1.2 The Present Day Creates History2.2 Bethnal Green Hospital Campaign2.3 East London Health Project2. Eighties2.1 Docklands Community Poster Project2.2 The Photo-murals2.3 Campaigns2.4 The People's Armadas to Parliament2.5 The People's Plan for the Royal Docks2.6 Docklands Roadshow3. Nineties3.1 The Art of Change3.2 West Meets East3.3 Celebrating the Difference3.4 Between Family Lines3.5 Awakenings3.6. The Infinity Story4. The New Millennium4.1 cSPACE4.2 The Catch4.3 VOLCO4.4 Cascade4.5 The Young Person's Guide to the Royal Docks4.6 The Young Person's Guide to East London4.7 Lambeth Floating Marsh4.8 Active Energy5. In HindsightPart 2: Reflections 6. Process and Product6.1 An Invitation6.2 The Art of Negotiation6.3 Managing Collective Input6.4 From Communication to Community6.5 Objects, Fragments and Narratives6.6 When It Goes Wrong6.7 Outcomes and Products6.8 Feedback and Evaluation7. Themes and Issues7.1 Collaboration or Participation?7.2 Interdisciplinarity7.3 The Dynamics of Difference and Issues of Multiculturalism7.4 Activism into Identity7.5 Where Education Meets Production7.6 Technology as Facilitator and Transformer of Social Engagement7.7 From Co-op to Charity: Working from an Organisational Base7.8 Funding7.9 Regeneration7.10 Social Change8. Situating the Practice8.1 Locating the Aesthetic8.2 A Question of Function8.3 Rebuilding the Cultural FrameAppendix: Summary of Projects 1975–2016

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Book SynopsisPopular Music and Parenting explores the culture of popular music as a shared experience between parents, carers and young children. Offering a critical overview of this topic from a popular music studies perspective, this book expands our assumptions about how young audiences and caregivers engage with music together. Using both case studies and wider analysis, the authors examine music listening and participation between children and parents in both domestic and public settings, ranging across children's music media, digital streaming, live concerts, formal and informal popular music education, music merchandising and song lyrics.Placing young childrenâs musical engagement in the context of the music industry, changing media technologies, and popular culture, Popular Music and Parenting paints a richly interdisciplinary picture of the intersection of popular music with the parentâchild relationship.Table of ContentsStarting the Conversation about Popular Music and Parenting / 1 There Is No Such Thing as Children’s Music: Forming Relationships between Parents, Carers and Children / 2 Children, Parenting and Music Media / 3 Popular Music and Parenting Engagement through Digital Distribution: Bluey Case Study / 4 Songs about Parent/Carer and Child Relationships / 5 Towards a Parent-Friendly Music Industry: Insights from Workers during the COVID Pandemic / 6 Can I Bring My Kid to the Gig? / 7 Baby Shark in the Global Children’s Mediascape / Future Directions for Popular Music and Parenting

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Book SynopsisThe Dark Theatre is an indispensable text for activist communities wondering what theatre might have to do with their futures, students and scholars across Theatre and Performance Studies, Urban Studies, Cultural Studies, Political Economy and Social Ecology.The Dark Theatre returns to the bankrupted warehouse in Hope (Sufferance) Wharf in London's Docklands where Alan Read worked through the 1980s to identify a four-decade interregnum of cultural cruelty' wreaked by financialisation, austerity and communicative capitalism. Between the OPEC Oil Embargo and the first screening of The Family in 1974, to the United Nations report on UK poverty and the fire at Grenfell Tower in 2017, this volume becomes a book about loss.In the harsh light of such loss is there an alternative to the market that profits from peddling well-being' and pushes prescriptions for self-help', any role for the arts that is not an apologia for injustice? What if culture were notTable of ContentsPart I: The Loss Adjustor: Collateral Damage in the Capitalocene; Chapter 1: The Dark Theatre: Bankruptcy & the Logics of Expulsion; Chapter 2: The Eruption of the Audience & the Dictatorship of the Performatariat; Chapter 3: All the Home’s a Stage: Social Reproduction & Everyday Life; Interlude: Dreadful Trade: The Vertigo of Attractions; Part II: Living Currency: Scenes from the Last Human Venue; Chapter 4: Irreparable State: Compensations of Performance; Chapter 5: Arrested Life: Ecology of the New Enclosures; Chapter 6: Cultural Cruelty: Extraordinary Rendition & Acoustic Shock; Chapter 7: Poor History: Field Notes from a Fire Sale; Outstanding Debts; The Milliner’s Shop; Bibliography; Index

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Book SynopsisIn this fascinating new book, Rosalinda Quintieri addresses some of the key questions of visual theory concerning our unending fascination with simulacra by evaluating the recent return of the life-size doll in European and American visual culture. Through a focus on the contemporary photographic and cinematic forms of this figure and a critical mobilisation of its anthropological complexity, this book offers a new critical understanding of this classical aesthetic motif as a way to explore the relevance that doubling, fantasy and simulation hold in our contemporary culture.Quintieri explores the figure of the inanimate human double as an inhuman partner, reflecting on contemporary visuality as the field of a hypermodern, post-Oedipal aesthetic. Through a series of case studies that blur traditional boundaries between practices (photography, performance, sculpture, painting, documentary) and between genres (comedy, drama, fairy tale), Quintieri puts in contrast the nTrade Review"Rosalinda Quintieri’s exciting and timely book promises to revitalize critical analysis in visual culture through her discussion of contemporary modes of techno-scopophilia. Deploying neglected theoretical resources from the ‘late Lacan’ in which objects of extimacy become essential parts of our being, Quintieri’s book engages with and develops the logic of recent photographic work deploying dolls, mannikins and marionettes that break with the Freudian paradigm of the ‘uncanny’. In Quintieri’s analysis the ‘double’ no longer simply provokes a crisis of identity and meaning but opens the way to perverse pleasures of human posterity in which the post-human follows the (an)aesthetic trajectory of the doll."– Scott Wilson, author of Scott Walker and the Song of the One-All-Alone. (Bloomsbury, 2020)Table of ContentsIntroduction: “Quasi-subjects”: the hypermodern double between flatness and affective excess 1. The modern doppelgänger: enjoyment as subversion 2. Enjoy (you must)!: Olivier Rebufa and Barbie’s dreamlife 3. Silicone Love: photography as de-Realisation 4. Laurie Simmons: pictures beyond the gaze 5. Lars and the Real Girl: a tale of the New Father Conclusions: doubles beyond the uncanny

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Book SynopsisIn this collection, the author focuses on several contemporary Romanian female playwrights with residencies in Europe and the U.S.: Alexandra Badea, Carmen-Francesca Banciu, Alexa Bacanu, Ana Sorina Corneanu, Mihaela Dragan, Dr. Catalina Florina Florescu, Dr. Mihaela Michailov, Dr. Domnica Radulescu, Saviana Stanescu, and Dr. Elise Wilk.In their bold works, written by female playwrights who are academics, activists, and performers, we are invited to discover variations in the modus operandi of the dramatic language itself from metaphorical to matter-of-fact approaches. Furthermore, while all these playwrights speak Romanian, they also think and operate in various other languages, such as Romani, German, French, Italian, and American English.This book facilitates scholars and students to discover contemporary issues related to Romanian society as presented heavily from a feminine angle and to reveal intersectional issues as seen and applied to dramatic characters in a pTrade Review''Dr. Florescu’s focus on intersectionality in plays written by Romanian female playwrights is an admirable endeavor given both the scarcity of materials on Romanian cultural intersectionality and theater in general in the United States curricula. Not only are the ten plays included for discussion in this book a splendid sample of Romanian theater, but also the carefully structured analyses and activities, prefaced by photographs from performances, make this book a labor of love'' – Dr. Adriana Cordali author of Visual Rhetorics of Communist Romania: Life Under the Totalitarian Gaze''Designed as multilingual and multidimensional, this volume presents a series of plays by female artists who are deeply connected to Romania, Dr. Cătălina Florina Florescu’s native country. Their engagement with intersectionality becomes evident not only when discussed by Florescu, but also when the playwrights are given a selfless chance to reflect on their own works. Shining a bright light on the urgent political issues and innovatory theatrical strategies at the heart of these contemporary productions will definitely stir interest and debate, proving the timeliness of the current project.'' – Dr. Ludmila Martanovschi, Secretary of the Society for Multi-Ethnic Studies: Europe and the Americas (MESEA)''A compassionate and intimate exploration of female playwrights in Romanian theater presented to the global public through the lens of intersectionality as a tool for discernment of how the invisible power relations create inequality. Catalina Florescu masterfully uses her multifaceted roles as a woman, immigrant, mother, partner, author, and professor to examine the still vastly unexamined role female artists have in making intellectually stimulating art and leaving their beautifully diverse legacy on heteropatriarchy.'' – Mihaela Campion, Clinical licensed psychotherapist and ARCHER Founder (American Romanian Coalition of Human and Equal Rights)Table of ContentsForewordA Note Before Reading This VolumeChapter 1. Feminin (Feminine)Chapter 2. Pisica Lui Schrödinger (Schrödinger’s Cat)Chapter 3. Ein Land Voller Helden (A Land Full of Heroes)Chapter 4. Romacen: Vremea Vrăjitoarei (Romacene: The Age of the Witch)Chapter 5. Pulvérisés (The Pulverised)Chapter 6. Moss (Verde Crud)Chapter 7. Hai să vorbim despre viaţă! (Let’s Talk about Life!)Chapter 8. Familia Offline (Offline Family)Chapter 9. Exile Is My Home (Exilul este casa mea)Chapter 10. Aliens with Extraordinary Skills (Extratereştii cu puteri supraomeneşti)Post ScriptumMiscellaneaAbout The PlaywrightsIndex

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Book SynopsisThis book explores applied theatre practice for children in environments of illness and cure and how it can powerfully normalise children's hospitalisation experience. It is an essential tool for making meaning of children's illness, putting it into a fictional context and developing better control of their clinical experiences. It can be central to raising the standards of care and quality of life during illness. Taken from the author's research and participatory bedside theatre practice in hospitals before, during and after the COVID-19 pandemic, this book demonstrates new learning about aesthetics, ethics, emotions, stories, puppetry, digital arts and research methodologies about children's health and wellbeing. It provides a selection of ten unique stories told by children inspired by applied theatre practice in paediatrics, cardiac, oncology, neurosurgery, burns units and complex and intensive care wards. Stories aid in understanding the language of children's paiTrade Review“Applied Theatre in Paediatrics, Stories, Children and Synergies of Emotions" by Professor Persephone Sextou is a singular triumph in the realm of paediatric theatre and emotional healing. It underscores the critical importance of nurturing emotional well-being in our youngest generation and leaves readers deeply inspired to embark on their own transformative journeys. Highly recommended for anyone looking to make a meaningful difference in the lives of children through the potent combination of creativity and empathy.Stelios KiossesPsychotherapistInstructor and Faculty, Harvard University Extension SchoolTable of Contents1. Hospitalised children’s stories in applied theatre 2. Applied theatre and digital assets on the wards 3. Sick Children’s stories: from patients to story-makers 4. Applied performance, puppetry and hospital tuition 5. Caring enough is never enough: Training actors on emotional Skills 6. The Future: questions and recommendations Appendix A: ‘Rocket-Arts’ or "Simba, the Therapy Dog". The script. Appendix B: "Simba, the Therapy Dog". A digital adaptation. Appendix C: "Lollie the rough collie and the magic kiss". The story.

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Book SynopsisMusic, Technology, Innovation: Industry and Educational Perspectives draws upon cutting-edge practice in the use of technology from both a pedagogical and industry perspective. Situated within the latest research, this edited volume explores technological innovation from a musical perspective, examines current trends within the industry, and carefully considers them from an educational perspective.Noted throughout history, music education is responsive to industry innovations. However, emerging technologies often begin with over-hyped promises before they move through various phases of development and are then repurposed for learning and teaching. Educators can adopt an innovation and develop a framework that is pedagogically sound and learner-centred. Based on these ideas, the authors together highlight industry innovations that have potential outcomes for engaging students in music learning within research-informed practices, build upon these ideas and identify proac

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Book SynopsisMusic in Religious Cults of the Ancient Near East presents the first extended discussion of the relationship between music and cultic worship in ancient western Asia. The book covers ancient Israel and Judah, the Levant, Anatolia, Mesopotamia, Elam, and ancient Egypt, focusing on the period from approximately 3000 BCE to around 586 BCE. This wide-ranging book brings together insights from ancient archaeological, iconographic, written, and musical sources, as well as from modern scholarship. Through careful analysis, comparison, and evaluation of those sources, the author builds a picture of a world where religious culture was predominant and where music was intrinsic to common cultic activity.Table of Contents1. Introduction; 2.Types of cultic activity and the music associated with them, 1; 3. Types of cultic activity and the music associated with them, 2; 4. Musical media, 1; 5. Musical media, 2: membranophones (drums) and idiophones; 6. Musical media, 3: groups and ensembles; sanctity and divinisation; organisation and administration; 7. Approaching the musical sound-world

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Book SynopsisThis volume is the first authoritative historical textbook to look at the origins, development and evolution of seaside pierrot troupes and concert parties and their popular performance heritage. It will provide, for the first time, a definition of the pierrot troupe and its evolution from the roots of European popular traditions such as the commedia dell'arte and minstrelsy, to links between music hall and contemporary popular culture. Tony Lidington will explore how pierrot troupes grew from a single idea into a major international cultural industry and how it boosted morale and national identity during the two World Wars, before sublimating into contemporary pop music and comedy. Tony's continuing practice as research provides an experiential framework for the historical and ethnographic analysis of the form.This book will be of vital interest to students, researchers, and performers of outdoor (al fresco) arts, clowning and comedy, minstrelsyTable of ContentsList of figures Thanks! Support for writing and illustrations Acknowledgements Note about cover images Preface: “The Pierrot fable” Introduction1 “Here we are again!”: Current practice2 “Trope to troupe”: The origins of Pierrot in Britain3 Minstrels: White and black4 “The Seaside Minstrels”5 Proliferation6 “Bringing Blighty to the Boys with troupes for the troops”: Pierrot troupes and concert parties in the First World War7 Ambiguities in the evolution of the form and its developments during the inter-war years8 Khaki-clad pierrot heroes: British concert parties/pierrot troupes in the Second World War9 “It’s that troupe again …”: Concert party adaptations for the airwaves and post-war British pop culture10 “Impacts and reverberations”: The ways in which the seaside troupe format has directly affected contemporary culture11 Conclusion: Pierrots and concert parties provide a portal to past, present and future popular cultureAppendices Appendix 1: Timeline of pierrot/concert-party projects by Tony Lidington Appendix 2: Programme for Moore & Burgess Minstrels, April 14th 1877 Appendix 3: early members of Clifford Essex’s troupe Appendix 4: Table illustrating the date of the first connections to seaside resorts by steamer and railway Appendix 5: Spreadsheet of troupes with the words “Royal” or “Imperial” in the title Appendix 6: List of troupes formed prior to the First World War Appendix 7: Song books & publishers for pierrot troupes and concert partiesAppendix 8: List of troupes operating in the First World War Appendix 9: Pierrot troupe list for 1918–1939Appendix 10: Numbers of ENSA performances (from information provided by Basil Dean)Appendix 11: Annual budgetary expenditures for ENSAAppendix 12: List of seaside shows opening 1946–1961 Appendix 13: The Roosters Glossary of terms References Index

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Book SynopsisThis book examines the increasing intersections of art and parenting from the late 1990s to the early 2010s, when constructions of masculine and feminine identities, as well as the structure of the family, underwent radical change.Barbara Kutis asserts that the championing of the simultaneous linkage of art and parenting by contemporary artists reflects a conscientious self-fashioning of a new kind of identity, one that she calls the âartist-parent.â By examining the work of three artistsâGuy Ben-Ner, ElÅbieta JabÅoÅska, and the collective Mothers and Fathersâ this book reveals how these artists have engaged with the domestic and personal in order to articulate larger issues of parenting in contemporary life.This book will be of interest to scholars in art and gender, gender studies, contemporary art, and art history.

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Book SynopsisThis book is a critical interdisciplinary approach to the study of contemporary visual culture and image studies, exploring ideas about space and place and ultimately contributing to the debates about being human in the digital age. The upward and downward pull seem in a constant contest for humanityâs attention. Both forces are powerful in the effects and affects they invoke. When tracing this iconological history, Amanda du Preez starts in the early nineteenth century, moving into the twentieth century and then spanning the whole century up to contemporary twenty-first century screen culture and space travels. Du Preez parses the intersecting pathways between Heaven and Earth, up and down, flying and falling through the concept of being âœspaced outâ. The idea of being âœspaced outâ is applied as a metaphor to trace the visual history of sublime encounters that displace Earth, gravity, locality, belonging, home, real life, and embodiment. The book will be of interest to scholars working in art history, visual culture, media and cultural studies, phenomenology, digital culture, mobility studies, and urban studies.Table of Contents1. Introduction Part One: Walking on Thin Air 2. Balancing Act 3. Into the Void 4. Running-As-If Part Two: Walking on the Moon 5. Up in the Air 6. In Vain 7. Approaching the Unknown

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Book SynopsisHollywood Remembrance and American War addresses the synergy between Hollywood war films and American forms of war remembrance. Subjecting the notion that war films ought to be considered ?the war memorials of today' to critical scrutiny, the book develops a theoretical understanding of how Hollywood war films, as rhetorical sites of remembering and memory, reflect, replicate and resist American modes of remembrance. The authors first develop the framework for, and elaborate on, the co-evolution of Hollywood war cinema and American war memorialization in the historical, political and ideological terms of remembrance, and the parallel synergic relationship between the aesthetic and industrial status of Hollywood war cinema and the remembering of American war on film. The chapters then move to analysis of Hollywood war films covering The Great War, World War II, The Korean War, The Vietnam War, The Cold War, and the wars in Afghanistan and Iraq and critically scrutinTable of Contents1. Hollywood Remembrance and American War 2. Their War, Our War: Private Memory and Public Commemoration in Billy Lynn’s Long Halftime Walk 3.Lions for Lambs: Ambivalent Memorialization and Melodrama 4. Hysterical Colonels and Kernels: Apocalypse Now Redux and Ápres Coup Remembering 5. Dr. Strangelove: MAD Clowns and Phantom Memorialization 6. "A Quiet Day at the Front": Realism as an Act of Memorialization in Cease Fire 7. The Thin Red Line: The Hero’s Desire to be More Realized 8. The Abyss of the "Other": Wounded Memory and the Negative Exception in Letters from Iwo Jima 9. The Living Memorial: War Horse and the Horse Crux 10. Afterword

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Book SynopsisThe Art of Experience provides an interdisciplinary analysis of selected plays from Ireland's premier female playwright, Marina Carr.Dagmara Gizlo explores the transformative impact of a theatrical experience in which interdisciplinary boundaries must be crossed. This book demonstrates that theatre is therapeutic and therapy is theatrical. The role of emotions, cognitions, and empathy in the theatrical experience is investigated throughout. Dagmara Gizlo utilises the methodological tools stemming from modern empirically grounded psychology (such as cognitive-behavioural therapy or CBT) to the study of theatre's transformative potential.This book will be of great interest to students and scholars of theatre, performance, and literature, and will be a fascinating read for those at the intersection of cognitive studies and the humanities.Table of ContentsIntroduction 1. Crossing the disciplinary boundaries: the cognitive turn in drama, theatre, and performance research 2. Theatre and psychotherapy 3. Emotions, cognition, and empathy in the theatrical experience 4. The theatre of Marina Carr: an interdisciplinary study

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Book SynopsisMusic Production Cultures draws on interviews with international educators, surveys completed by students of music production from around the globe, doctoral research findings and contextualised career experiences from the author as a celebrated music producer to explore how effective learning environments can be created for popular music production in higher education.Acknowledging the musical, technological and social diversity in global popular music production practice, this book highlights the integral elements that educators and their institutions must consider in order to provide high-quality and relevant education for the students of today and into the future. Offering concepts, approaches and practices to be integrated into diverse music production pedagogical frameworks in higher education, this book considers the pedagogical approaches and goals that bridge music production education to the industry, using examples and insights from international educatorsTrade Review"Brendan Anthony has produced a visionary, forward-thinking book which is not only fascinating, entertaining, and highly readable, but also rigorously academic. Drawing from an amalgam of professional experience across the music industry and higher education divide, he has woven a detailed and erudite research project through the two. A quite brilliant achievement which I hope will be a landmark in how higher education and industry work for popular music production in the future."Professor Lucy Green, UCL Institute of Education, London, UK"In this exciting new book, Brendan Anthony presents a timely and detailed student-centred exploration of teaching and learning in popular music production, engaging producers, performers and professors as he weaves together expert pedagogical advice and profound insights from both sides of the glass."Dr Gareth Dylan Smith, Assistant Professor Music, Music Education, Boston University, USA"Brendan Anthony has made a significant contribution to the world of pedagogical music production practice with this volume of work that will be celebrated by educators internationally. This authoritative work has been written from both the perspective of an academic and a working practitioner. It provides an insightful and much needed view of what goes on behind the glass from the lens of an educator and highlights the key issues for academics and students working in the field. The field of music production continues to develop from both technical- and cultural-perspectives that explore both the creation of the technology, its use, and the approach of musicians and record producers and how they create work in the studio. This important text and much needed work will fill a gap in the literature in terms of how we frame popular music production methods from pedagogical and cultural perspectives."Professor Andrew King, Head of School of the Arts, University of Hull, UKTable of ContentsIntroduction: Music production cultures and rationale Part 1: Modern popular music production skills, practices and processes 1. Music production skills and creative practice 2. Popular music production processes (Part A). Cognition, popular music production agency and socio-musical concepts 3. Popular music production processes (Part B). The manifestation of recorded works 4. Songwriting and production 5. Music production subjectivity and creativity Part 2: Popular music production pedagogy that bridges to the real world 6. What is the real world? 7. Popular music production learning approaches 8. The places and spaces of popular music production pedagogy 9.The cohort (both sides of the glass) Part 3: Pedagogical approaches 10. Popular music production pedagogy— an engagement with diverse music production cultures 11. Learning frameworks 12. The music 13. The educator’s role 14. Practice-based pedagogical applications 15. Collaboration and creativity in popular music production pedagogy 16. Learning popular music production 17. Class targets 18. Assessment 19. Student accountability and educator mentorships Part 4: Pedagogical timeline, graduate considerations and summary 20. Student progression and graduate futures 21. Pedagogical summary and challenges

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Book SynopsisThis book explores the diachronic development of the ideological content of Pompey and Caesar's monuments in Rome, emphasising the importance of the late Republican period as a precursor to imperial propaganda through architecture. In the final years of the Roman Republic, individuals such as Pompey the Great and Julius Caesar exploited the communicative power of architecture. The former promoted the first and largest stone theatre in Rome; the latter started comprehensive town-planning projects that arguably verged on the utopian. Yet the study of the politics expressed by these monuments and how complex late Republican politics shaped the monuments themselves has attracted less attention than that of subsequent imperial architecture. Zampieri addresses this imbalance, exploring the ideological meaning of late Republican monuments and highlighting that monuments were fluid, adaptable entities, even in the lifespan of a single individual. Accompanied by detailed maps and imagTrade Review'A comprehensive, thought-provoking, and innovative account of the competition between Pompey and Caesar in the sphere of monumental building.' - Tom Stevenson, University of Queensland, AustraliaTable of ContentsIntroduction; 1. The Protagonists and Their Ideas; 2. The Rising Sun: Pompey’s Monuments and His Three Triumphs; 3. Pacata Gallia? Caesar Keeps an Eye on Rome; 4. After the War, a New Rome; 5. The Building Affairs of Mr. Julius Caesar; 6. Conclusions: Let the City Speak; Appendix A: Maps; Appendix B: Chronology Table.

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Book SynopsisFor literary scholars, plays are texts; for scenographers, plays are performances. Yet clearly a drama is both text and performance. Dramatic Spaces examines period-specific stage spaces in order to assess how design shaped the thematic and experiential dimensions of plays. This book highlights the stakes of the debate about spatiality and the role of the spectator in the auditorium if audience members are co-creators of the drama, how do they contribute? The book investigates: Roman comedy and Shakespearean dramas in which the stage-space itself constituted the primary scenographic element and actors' bodies shaped the playing space more than did sets or props the use of paid applauders in nineteenth-century Parisian theaters and how this practice reconfigured theatrical space transactions between stage designers and spectators, including work by László Moholy-Nagy,Table of ContentsIntroduction 1. Inside the Theater: Audience Experience at The Menaechmi and The Comedy of Errors 2. "Bodied Forth": Spectator, Stage, and Actor in Early Modern English Theaters 3. Audience Performance: The Claque in Nineteenth-century French Theater 4. How Modernism Played in Berlin: Moholy-Nagy’s Hoffmann at the Kroll Opera House 5. Box Set to the Infinite Power: Metatheatricality and Set Design in Albee's Tiny Alice 6. Design and Double Vision: Spectatorial Experience and M. Butterfly

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Book SynopsisThis book proposes a novel creative research practice in geography based on comics. It presents a transdisciplinary approach that uses a set of qualitative visual methods and extends from within the geohumanities across literary spatial studies, comics, urban studies, mobility studies, and beyond.Written by a geographer-cartoonist, the book focuses on narrative geographies' and embraces a geocritical and relational approach to examine comic book geographies in pursuit of a growing interest in creative, art-based experimental methods in the geohumanities. It explores comics-based research through interconnections between art and geography and through theoretical and methodological contributions from scholars working in the fields of the social sciences, humanities, literary geographies, mobilities, comics, literary studies, and urban studies, as well as from visual artists, comics authors, and art practitioners. Comics are valuable objects of geographical interest because of tTable of Contents1. Introduction: Enacting Comic Book Geographies Part 1: Assembling Comics for Creative Interventions in Urban Space 2. Comics as Assemblages: Building Urban Stories in the Public Sphere 3. Doing Urban Comics: Ethnographic Strolling Across ‘Peripheral’ Neighbourhoods Part 2: Moving Comics from Representation to Practice 4. Graphic Mobilities: Mobile Practices, Bodies, and Landscapes of Movement in Comics 5. Doing Comics on the Move: An Autoethnographic Account of Geographic Fieldwork

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Book SynopsisThrough the contributions of women working in the creative industries, this timely book explores the role of creativity in their lives, the experiences that have positively contributed to and supported their creativity and their work, as well as how gendered considerations intersect with their involvement in the cultural sphere.Spanning psychology, cultural and media studies, and the philosophy of art, it builds on existing research by offering examples of the abundance of creativity residing in women working in film and television, architecture, design, music, theatre, and the performing and visual arts in Ireland. Their reflections offer a valuable counter perspective to the assumption that women are more naturally the muse' than the creator. From these conversations, some common, although at times diverging, experiences in childhood, early career and approaches to their creative work offer important insights into the nature and practice of creativity and the conditions thaTrade Review"The notion of creativity in the arts and creative industries remains poorly analyzed and fraught with unproven assumptions about gender and artistic temperament. O'Driscoll's analysis of the concept of creativity is matched with her valuable interviews with women in diverse areas of artistic practice, persuasively countering the presumption that women possess inferior creative capacities." Carolyn Korsmeyer, author of Gender and Aesthetics: An Introduction"...engaging, accessible and academically rigorous..." Ariana Malthaner, The Journal of Arts Management, Law and SocietyTable of Contents1. Introduction 2. Childhood and Adolescence 3. Further Education and Early Career 4. Creative Work 5. Creative Identities 6. Conclusions: Insights derived from creative women in Ireland

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Drawing on unique multi-arts, multi-city scholarly research, Understanding Audiences for the Contemporary Arts makes a timely and urgent contribution to debates about the place of arts and culture in contemporary society. The authors critically interrogate the challenges of access, diversity, privilege and responsibility in contemporary art. Asking who benefits from, pays for and consumes the arts, the book highlights fresh, forward-thinking audience and organisational attitudes that show the potential of live arts engagement to contribute to engaged citizenship. Complemented by comparative global analysis, the cutting-edge insights in this book are relevant for interdisciplinary researchers across audience studies and beyond. Enhanced by a new framework for the understanding audience engagement, the book is relevant to scholars, policymakers and reflective practitioners across the spectrum of arts and cultural industries management.Chapter 7 of this b

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Book SynopsisIn the wake of controversial disclosures of classified government information by WikiLeaks and Edward Snowden, questions about the democratic status of secret uses of political power are rarely far from the headlines. Despite an increase in initiatives aimed at enhancing government transparency such as freedom of information or sunshine laws secrecy persists in both the foreign and domestic policy of democratic states, in the form of classified intelligence programs, espionage, secret military operations, diplomatic discretion, closed-door political bargaining, and bureaucratic opacity.This book explores whether the state's claim to restrict access to information can be justified. Dorota Mokrosinska answers this question with a qualified yes, arguing that secrecy in exercising executive and legislative power can be seen as a legitimate exercise of democratic authority rather than as its justified suspension.Past and recent examples of state secrecy are used throughouTable of Contents1. Introduction 2. Government transparency: grounds and limits 3. Reclaiming raison d’état: the necessity of executive secrecy 4. Do states have a right to privacy? 5. Democratic authority of government secrecy 6. Legislative secrecy in deliberation and voting co-authored with Suzanne Bloks. Bibliography Index

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Book SynopsisBy carefully conceptualising the domestic in relation to the self and the photographic, this book offers a unique contribution to both photography theory and criticism, and life-narrative studies. Jane Simon brings together two critical practices into a new conversation, arguing that artists who harness domestic photography can advance a more expansive understanding of the autobiographical.Exploring the idea that self-representation need not equate to self-portraiture or involve the human form, artists from around the globe are examined, including Rinko Kawauchi, Catherine Opie, Dayanita Singh, Moyra Davey, and Elina Brotherus, who maintain a personal gaze at domestic detail. By treating the representation of interiors, domestic objects, and the very practice of photographic seeing and framing as autobiographical gestures, this book reframes the relationship between interiors and exteriors, public and private, and insists on the importance of domestic interiors to understandiTable of Contents1. Introduction: photography, domesticity, interiors 2. Domestic things: animating objects and the still life 3. Domestic time: diaries, habits, durations 4. Domestic selves: relationality and slow portraiture 5. Domestic display: proximity and the handheld Conclusion: Windows, doorways, footpaths

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Book SynopsisThrough both longer essays and shorter case studies, this book examines the relationship of European women from various countries and backgrounds to collecting, in order to explore the social practices and material and visual cultures of collecting in eighteenth-century Europe.It recovers their lives and examines their interests, their methodologies, and their collections and objectssome of which have rarely been studied before. The book also considers women's role as producers, that is, creators of objects that were collected. Detailed examination of the artefactsboth visually, and in relation to their historical contextsexposes new ways of thinking about collecting in relation to the arts and sciences in eighteenth-century Europe. The book is interdisciplinary in its makeup and brings together scholars from a wide range of fields.It will be of interest to those working in art history, material and visual culture, history of collecting, history of science, literary stTrade Review"The frameworks and methodologies set forth by the authors gathered here will provide models for future feminist scholarship in archival research and in the effective deployment of endeavours in the digital humanities that make use of social network analysis." - Tori Champion, sehepunkte"This is a valuable, well composed, and beautifully produced book. The fourteen chapters, divided among four parts, are all thoroughly researched and exhaustively documented. Each chapter has both clear, useful notes and a substantial bibliography."-Larry W. Riggs, New Perspectives on the Eighteenth CenturyTable of ContentsPart I Artificialia and Naturalia Science, Gender and Collecting:The Dutch 18th century Ladies’ Society for Physical Sciences of Middelburg Anne Harbers and Andrea Gáldy Between Art and Science: Portraits of Citrus Fruit for Anna Maria Luisa de’ Medici Irina Schmiedel Anne Vallayer-Coster’s Still Life with Sea Shells and Coral Kelsey Brosnan Part II Travel, Borders, and Networks Maria Sibylla Merian: A Woman’s Pioneering Work in Entomology Katharina Schmidt-Loske Sarah Sophia Banks’s Coin Collection: Female Networks of Exchange Erica Hayes and Kacie L. Wills Conversing with Collecting the World: Elite Female Sociability and Learning through Objects in the Age of Enlightenment Lizzie Rogers Portrait of Charlotte de France: from Naples to Sicily, a Collection in Transit Maria Antonietta Spadero 8. The Collecting Activity of Catherine II in 18th Century Russia: Pioneering Action or Sheer Demonstration of Power? Charis Ch. Avlonitou Part III Displaying, Recording, and Cataloguing ‘I made memorandums’: Mary Hamilton, Sociability, and Antiquarianism in the Eighteenth-Century Collection Madeleine Pelling Eleanor Coade, John Soane, and the Coade Caryatid Nicole Cochrane Anne Wagner’s Album (1795-1805): Collecting Feminine Friendship Ryna Ordynat An Art Cabinet in Miniature: The Dollhouse of Petronella Oortman Hanneke Grootenboer Part IV Beyond the Eighteenth Century Collection, Display, and Conservation: The Print Room at Castletown House Anna Frances O’Regan Olivia Lanza di Mazzarino (1893-1970): A Lady’s collection of Eighteenth-Century Folding Fans Arlene Leis

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Book SynopsisBased on hitherto overlooked archival material, this book reveals Nell Waldenâs significant impact on the Sturm organisation through a feminist reading of supportive labour that highlights the centrality of collaborative work within the modern art world. This book introduces Walden as an ardent collector of modern and indigenous art and critically contextualises her own art production in relation to expressionist concepts of art and to gendered ideas on abstraction and decoration. Visual analyses highlight how she collaborated with professional and experimental women photographers during the Weimar era and how the circulation of these photographs served as a means to intervene in the public sphere of culture in interwar Germany. Finally, the book provides an analysis of Waldenâs continuing work for Der Sturm after her voluntary exile from Germany to Switzerland in 1933 and highlights the importance of womenâs supportive labour for the canonisation and institutionalisation of Trade Review"Skrubbe’s book – innovative both in content as well as in methodology – illuminates the inspiring ways in which Nell Walden had succeeded in claiming agency and control over her multifaceted role as a representative of Der Sturm. ... It is an absolute must-read for everyone professionally active in the field or wanting to learn more on Der Sturm and the indispensable role that Nell Walden has played in it."--Konsthistorisk tidskrift/Journal of Art HistoryTable of ContentsIntroduction: In the Margins of the Centre 1. Companion, Friend, and Fellow Combatant 2. The Walden Art Collection 3. Sturm Artist XIV 4. Securing Visibility, Maintaining Presence 5. Histories and Archives

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Book SynopsisAural/Oral Dramaturgies: Theatre in the Digital Age  focuses on the aural turn' in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- post-verbatim' theatre, ''amplified storytelling'' (works using microphones and headphones), and gig theatre' that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book''s case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompaniedTrade Review"How does an audience hear a live performance? What are the relationships between speech and sound, polyphony and counterpoint, that generate meaning for a viewer/listener at the theatre? How is theatre as a form situated within the oral and aural domains? In this book, Radosavljević radicalises and reclaims sound as central to the act of theatre-making, and how its aural contours and shapes have changed and are changing new work in amplified storytelling and gig theatre and post-verbatim theatre. This book is thorough, deeply considered, provocative and alters with whispery and sometimes loud insistence on the material, technological and spiritual dimensions of speech and sound in performance. Animated and situated within interstitial cultural and linguistic spaces, Radosavljevic asks their reader to take into account the effect and affect of text and non-text-centered works and artists that are creating pieces that demand acts of replay, rewind and multi-tracking, taking audiences on journeys through spatial and temporal orientation and disorientations in order to achieve new dramaturgical forms. This book is a complex, symphonic work that demands multiple re-readings!" — Caridad Svich, Rutgers University-New Brunswick, USA"Duška Radosavljević’s book gives a critically and creatively rigorous and meta-sensitive analysis of dramaturgical intersections between Post-Verbatim, Amplified Storytelling and Gig Theatre. Operating in-between the disciplinary borderlines – and yet firmly rooted in theatre and performance studies – the book offers a needed discussion on dramaturgical innovations within contemporary sound and speech-based performance-making and its dialogue with digital developments. Radosavljević’s explorations are enriched by her international and multilingual outlook and sensitivity evident in compelling examples, her meta-criticality towards language, and aurality and orality as concepts. The book makes an exemplary case – additionally spelt out in its final section – for interdisciplinarity within theatre research methodology and the ethics of dialogue between oneself, research, artists, and the broad theatre community. It is an academic gift for scholars of all levels. It will also be an invaluable addition to reading lists in modules exploring dramaturgy, digital theatre, contemporary performance making, and research methodologies." — Dr Kasia Lech, Canterbury Christ Church University, UKTable of Contents1. Introduction(s): The Difficult Second Album 2. Post-Verbatim 3. Amplified Storytelling 4. Gig Theatre 5. Conclusion(s): Au/o/ralities in the Digital Age

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Book SynopsisKristin Linklater is one of the most internationally recognised names in the field of voice training, and this volume explores her work and life while also putting her work into practice. Charting the development of Linklater's process, including her work at LAMDA, the Lincoln Centre, NYU, Columbia, and the KLVC on Orkney, the book provides a comprehensive overview of one of the worldâs leading voice coaches. This book contains: A detailed biography of Linklaterâs life, including her work with Iris Warren at LAMDA, as well as the founding of her own companies and the KLVC on Orkney Detailed analysis of her key text, Freeing the Natural Voice, and her work with Carol Gilligan on The Company of Women, an all-female Shakespeare company they co-conceived A comprehensive set of exercises â several of these previously unpublished This book offers essential reading and an invaluable practice handbook to the contemporary performer, voTable of Contents1. Biography in Social and Artistic Context 2. Summary and Analysis of Freeing the Natural Voice: Imagery and Art in the Practice of Voice and Text 3. Linklater’s Voice Work and the Company of Women 4. Practical Exercises

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Book SynopsisThis book explores the nature of Britain-based artistsâ engagement with the transformations of their environment since the early days of the Industrial Revolution.At a time of pressing ecological concerns, the international group of contributors provide a series of case studies that reconsider the natureâculture divide and aim at identifying the contours of a national narrative that stretches from enclosed lands to rising seas. By adopting a longer historical view, this book hopes to enrich current debates concerning artâs engagement with recording and questioning the impact of human activity on the environment.The book will be of interest to scholars working in art history, contemporary art, environmental humanities, and British studies.Trade Review"By offering ways to rethink past, present, and future British environments and visual responses to ecological change British Art and the Environment marks an important contribution to the field of ecocritical art history and the environmental humanities more broadly. It encourages new and promising perspectives on visual responses to our global landscape, of relevance to art historians whose interests extend across geographical boundaries and temporal frameworks."--Cercles"British Art and the Environment is undoubtedly essential reading for anyone interested in expanding their understanding of environmental approaches in art history; it will also prove a highly useful source for individuals interested in exploring how ecological and aesthetic theories could be understood as inseparably intertwined."--Aspectus: A Journal of Visual CultureTable of ContentsPART 1 From the Claude Glass to Drones: Framing Environmental Encounters 1 Vehicles of Truth: Portable Studios and Nineteenth-Century British Landscape Painting, 1856–1885 2 Painting Fog: James Abbott McNeill Whistler’s Blurred Visions of the London Atmosphere 3 Aerial Ontologies 4 An Interview with Tim Martin PART 2 Areas of Outstanding Industrial Beauty? A Layered History of Reappropriation and Profitability 5 "It’s Grim Up North": Depicting Mutations and Shifting Perceptions of Industrial Landscapes in the North of England 6 "Our Oil": Our Waves? Environment, Energy Transition, and Art in Twenty-First-Century Scotland 7 Managing Arcadia: From the King’s Cross Estate to the Bretton Estate 8 An Interview with Adrian George PART 3 Decentering Human Vision: Art in a Shared Environment 9 Pursuing Natural Beauty: The Artist as a Hunter in Eighteenth-Century British Art 10 "A New and Unforeseen Creation": Turner, English Landscape, and the Anthropo(s)cene 11 The Human Landscape: John Ruskin, Drawing, and Colour 12 A Matter of Time: Transformative Sculptures by Marc Quinn, Zuzanna Janin, Anya Gallaccio, and Andy Goldsworthy 13 Brexit, Gender, and Northern Ireland’s Supernatural Landscape: Ursula Burke’s "A False Dawn" and Candida Powell-Williams’ "Command Lines"

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Book SynopsisAs the arts become an increasingly popular pedagogical tool in writing studies, Arts-Based Research Methods in Writing Studies offers scholars and educators in the field ways to leverage the arts for their own scholarship through the practice of arts-based research (ABR). Tailored to the needs of writing studies scholars, this concise guide presents ways of exploring and addressing unresolved research questions from the past as well as new, pressing questions that are emerging in light of increasingly fraught and complicated current contexts. It explores motives and methods for taking up ABR, sheds light on the processes of representing research and the ethical imperative of methodological disclosure, and looks critically at the complexities of fully realizing ABR in writing studies while offering some pedagogical applications. Connecting theory to practice, this book also performs ABR through a co-created mixed-media text about the everyday and extraordinary stories wTable of ContentsIntroduction: The Allure of Arts-Based Research Methods 1. Writing Studies Research and the Place of the Arts 2. Motivations and Methods for Arts-Based Research 3. Representing Research in Art Form 4. Methodological Disclosure in Arts-Based Research 5. A Promising Future for Arts-Based Research Methods in Writing Studies

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Digital technologies have transformed archives in every area of their form and function, and as technologies mature so does their capacity to change our understanding and experience of material and performative cultural production. There has been an exponential explosion in the production and consumption of video online and yet there is a scarcity of knowledge and cases about video and the digital archive. This book seeks to address that through the lens of the project Circus Oz Living Archive. This project provides the case study foundation for the articulation of the issues, challenges and possibilities that the design and development of digital archives afford. Drawn from eight different disciplines and professions, the authors explore what it means to embrace the possibilities of digital technologies to transform contemporary cultural institutions and their archives into new methods of performance, representation and history.

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Book SynopsisThis book considers and discusses aspects of the management of the D'Oyly Carte Opera Company in the twentieth century since the death of its founder Richard D'Oyly Carte, and concentrates on key events that contributed to its demise in 1982. In this book, Paul Seeley follows the analytical model that proposes no single factor triggered the collapse, but rather several, both external and internal. In the case of an opera company the external factors may include public taste and market forces, but more significant are the internal factors such as the management decisions taken in response to external factors and how these compare with the original artistic aims, aspirations and business models of the founder. This is a study by someone with close observation of the administration; at the 1982 demise, Seeley was assistant to the company manager, having earlier served on the music staff. The book is a must-read for music historians, theatre historians and arts-management Trade Review‘’Paul Seely’s systematic and forensic analysis of the DOC case makes fascinating reading… After forty years many people recall DOC with goodwill and countless feelings of pleasure. However, the temptation to view this book as merely a nostalgic account of a valiant fight against cost pressures and changing audience tastes or as a tale of mismanagement and failure must be resisted. It is a must read for everyone who cares about the future of Gilbert and Sullivan and operetta. Many of the issues considered are equally relevant to the health of today’s companies, professional and amateur, who deliver musical theatre. This analysis will hopefully assist them to escape a similar fate.’’ G&S News Spring 2022 Alan Parfitt Society Librarian "It is a welcome history that delves behind the scenes in the beloved company and exposes its shortcomings, some recognizable from its earliest days, that led to its refusal to change with the times and its ultimate demise." Professor Rafe MacPhail, The Austin Savoyard. Table of Contents1 The Making of D’Oyly Carte 2 Helen D’Oyly Carte 3 The Birth of a Tradition 4 On Radio and on Record 5 On Film and Television 6 The D’Oyly Carte Opera Trust 7 The last Savoyards 8 D’Oyly Carte and the Arts Council 9 A ‘New’ D’Oyly Carte?

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Book SynopsisOriginally published in 1947, The Vertical Man explores a form of Indian sculpture largely ignored in other studies, with a focus on two kinds of sculpture from the province of Bihar.The book provides detailed analysis of the formal characteristics of the sculpture and the influences of the myth, ritual, and context in which they were commissioned and made. It explains why the sculpture is regional and why the styles are what they are. It is an original study which throws light on important subjects such as the relations of art and religion and of art and economics. The Vertical Man will appeal to those with an interest in art, specifically sculpture and the art of the Indian countryside. Table of Contents1: Two Styles of Sculpture in West Bihar; 2: The Ritual of the Cattle-God; 3: The Myth of the Bir Kuar; 4: Wood and Stone; 5: The Region and the Styles; 6: Why the Styles are what they are; Appendixes

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