Search results for ""Dialogue""

Translated by Bencivenga from the original Italian of his philosophical best-seller, this dialogue provides a comprehensive statement on the role of freedom in the realms of morality, psychology, metaphysics, and aesthetics. Bencivenga lets his four characters embrace a wide range of topics in their eclectic discussion, including considerations of quantum physics and deconstruction, the Gothic novel and detective stories, the structure of desire and the mathematics of infinity, penetrating comments on Freud, Raymond Chandler, and Wertverlufe, and a reasonable explanation of why Kants first Critique is longer than both the second and the third. What results is less a systematic account than a composite picture for the student of philosophy to piece together.

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Translated by Bencivenga from the original Italian of his philosophical best-seller, this dialogue provides a comprehensive statement on the role of freedom in the realms of morality, psychology, metaphysics, and aesthetics. Bencivenga lets his four characters embrace a wide range of topics in their eclectic discussion, including considerations of quantum physics and deconstruction, the Gothic novel and detective stories, the structure of desire and the mathematics of infinity, penetrating comments on Freud, Raymond Chandler, and Wertverlufe, and a reasonable explanation of why Kants first Critique is longer than both the second and the third. What results is less a systematic account than a composite picture for the student of philosophy to piece together.

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It is widely accepted that the machinery of multicultural societies and liberal democratic systems is dependent upon various forms of dialogue - dialogue between political parties, between different social groups, between the ruling and the ruled. But what are the conditions of a democratic dialogue and how does the philosophical dialogic approach apply to practice? Recently, facing challenges from mass protest movements across the globe, liberal democracy has found itself in urgent need of a solution to the problem of translating mass activity into dialogue, as well as that of designing borders of dialogue. Exploring the multifaceted nature of the concepts of dialogue and democracy, and critically examining materializations of dialogue in social life, this book offers a variety of perspectives on the theoretical and empirical interface between democracy and dialogue. Bringing together the latest work from scholars across Europe, Democracy in Dialogue, Dialogue in Democracy offers fresh theorizations of the role of dialogue in democratic thought and practice and will appeal to scholars of sociology, political science and social and political theory.

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Since the birth of cinema, film has been lauded as a visual rather than a verbal medium; this sentiment was epitomized by John Ford's assertion in 1964 that, 'When a motion picture is at its best, it is long on action and short on dialogue'. Little serious work has been done on the subject of film dialogue, yet what characters say and how they say it has been crucial to our experience and understanding of every film since the coming of sound. Through informative discussions of dozens of classic and contemporary films - from "Bringing Up Baby" to "Terms of Endearment", from "Stagecoach" to "Reservoir Dogs" - this lively book provides the first full-length study of the use of dialogue in American film. Sarah Kozloff shows why dialogue has been neglected in the analysis of narrative film and uncovers the essential contributions dialogue makes to a film's development and impact. She uses narrative theory and drama theory to analyze the functions that dialogue typically serves in a film. The second part of the book is a comprehensive discussion of the role and nature of dialogue in four film genres: westerns, screwball comedies, gangster films, and melodramas. Focusing on topics such as class and ethnic dialects, censorship, and the effect of dramatic irony, Kozloff provides an illuminating new perspective on film genres.

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This book considers the emergence of dialectic out of the spirit of dialogue and traces the relation between the two. It moves from Plato, for whom dialectic is necessary to destroy incorrect theses and attain thinkable being, to Cusanus, to modern philosophers—Descartes, Kant, Hegel, Schleiermacher and Gadamer, for whom dialectic becomes the driving force behind the constitution of a rational philosophical system. Conceived as a logical enterprise, dialectic strives to liberate itself from dialogue, which it views as merely accidental and even disruptive of thought, in order to become a systematic or scientific method. The Cartesian autonomous and universal yet utterly monological and lonely subject requires dialectic alone to reason correctly, yet dialogue, despite its unfinalizable and interruptive nature, is what constitutes the human condition.

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Sociologies in Dialogue brings together expert contributions from international scholars, who reflect on the importance of collaboration between diverse sociological perspectives to enhance our understanding of the role of sociology as an academic discipline, and as a vehicle for social change. By exploring the distinctive practices and research of a range of sociologists, the book shows how an open dialogue between sociologists is critical to addressing major sociological issues across the globe such as inequality and ethnocentrism, and challenging the hierarchies of knowledge production and circulation. Contributors also discuss novel strands in theory and methodology such as multicultural sociology, cosmopolitanism, and multiple modernities. An important contribution for researchers and students interested in global sociology, sociological theories and methodologies.

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Not long ago, two friends Jean Baudrillard and Enrique Valiente Noailles the one having come from Buenos Aires, the other from nowhere, met in Paris. They had a long discussion without any precise aim. It was, rather, a way of rubbing up against metaphysics without risk of contagion. They called it Exiles from Dialogue as a mirrored homage to Bertolt Brecht and shortly afterwards they parted company and went their separate ways. In this remarkable new book based on this gnomic meeting, Baudrillard and Noailles range over the entirety of philosophy and thought underpinning Baudrillards unique work, from In the Shadow of the Silent Majorities (1983) to his recent writings on 9/11. Philosophically, the book takes in its breadth Heraclitus to Wittgenstein by way of Plato, Aristotle, Kant, Hegel, Kierkegaard and Nietzche. Its literary sources are diverse: Gracian and Saul Bellow, Hlderlin and Stanislaw Lec; and the theories of Fukuyama, Barthes and Kristeva are weighed, considered and analysed. With his usual incandescent brilliance, Baudrillard discusses the central themes of his writing: thought as (non-prophetic) anticipation; tragic acceptance of the world; the disappearance of the world into simulation; the death of the social (and with it the Left). Vitally, Baudrillard corrects some of the misconceptions that plague his work (about his fatal strategies, for example), qualifies some of his bolder pronouncements (notably softening his position on the question of the virtual) and pushes other lines of thinking further than ever before. Razor-sharp, volatile and capacious, this book will be essential reading for students and scholars of Baudrillard and those interested in the theories and philosophies that currently abound and rebound in the social sciences and humanities.

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Vigorously demonstrating the relevance of reasoning to important moral problems, the participants in this dialogue resist the temptations of strident emotional appeal in an effort to present the most honorable and intellectually sophisticated sides of their arguments. This effort leads them to consideration of ante-bellum slavery, to a comparison of the notions of absolute truth in ethics versus mathematics, and to constructive discussions of genetics, artificial intelligence, euthanasia, personal identity, human sexuality, and Roe v. Wade.

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A collection of Hilary Putnam’s stimulating, incisive responses to such varied and eminent thinkers as Richard Rorty, Jürgen Habermas, Noam Chomsky, Martha Nussbaum, W. V. Quine, Wilfrid Sellars, John McDowell, and Cornel West.Hilary Putnam (1926–2016) was renowned—some would say infamous—for changing his philosophical positions over the course of his long and much-admired career. This collection of essays, the first of its kind, showcases how his ideas evolved as he wrestled with the work of his contemporaries.Divided into five thematic sections, Philosophy as Dialogue begins with questions of language and formal logic, tracing Putnam’s reactions to the arguments of Wilfrid Sellars, Noam Chomsky, Charles Travis, and Tyler Burge. Next, it brings together Putnam’s responses to realists and antirealists, philosophers of science and of perception, followed by forays into pragmatism and skepticism. While Putnam devoted most of his efforts to logic, mathematics, and the philosophy of mind, he also took up issues in moral philosophy, politics, and religion. Here we read him in conversation with giants of these fields, including Martha Nussbaum, Jürgen Habermas, Elizabeth Anscombe, Cora Diamond, Richard Rorty, and Franz Rosenzweig. Finally, Philosophy as Dialogue presents Putnam’s deeply personal and largely unknown writing on philosophical method that reveals the influence of W. V. Quine, Michael Dummett, and Stanley Cavell on his work.Once more, Mario De Caro and David Macarthur have presented and introduced a choice selection of Hilary Putnam’s writings that will change the way he is understood. Most of all, these thirty-six replies and responses to his contemporaries showcase the extraordinary—perhaps even unparalleled—breadth of his work, and his capacity to engage deeply with seemingly every mode of philosophy.

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This book is a retrospective volume on Latin American new media arts, arising from the Cities in Dialogue exhibition that was held in in FACT in conjunction with the University of Liverpool and the Liverpool Independents Biennial in 2014. There is also plenty of detail about the other events that were held during 2014 and into 2015, including workshops, artist talks, Twitter galleries and the Artist in Residence and his activities. One chapter is dedicated to each artist and the works they presented at the exhibition: Brian Mackern from Uruguay, Bárbara Palomino from Chile, Marina Zerbarini from Argentina, and Ricardo Miranda Zúñiga from the US. There is also an extensive chapter about the exciting new residence artwork created by Artist in Residence Brian Mackern. Entitled This Too Shall Pass// Affective Cartographies, this work is based on footage obtained through a series of unplanned journeys along Liverpool’s urbanscape. The gathering of information and recording of sound and visual material during these journeys is then remixed in this artwork by different parameters (volume levels, transparencies, zooms, fragmentations, crossfadings, speeds of timelines, etc.) controlled by Liverpool’s “socio economic historic curve” of the last century. In this book you can find out about all of these works, and other pieces by these artists. The book includes full colour images throughout, including exclusive images of works in progress, as well as excerpts of interviews with the artists. At the back of the book you can find links to online resources, including the art works themselves, audio interviews with the artists, image galleries, and more.

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Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech that have largely gone unappreciated and unheard. Consisting of thirteen essays divided into three sections: genre, auteur theory, and cultural representation, Film Dialogue revisits and reconfigures several of the most established topics in film studies in an effort to persuade readers that "spectators" are more accurately described as "audiences," that the gaze has its equal in eavesdropping, and that images are best understood and appreciated through their interactions with words. Including an introduction that outlines a methodology of film dialogue study and adopting an accessible prose style throughout, Film Dialogue is a welcome addition to ongoing debates about the place, value, and purpose of language in cinema.

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Never before has there been a greater need for deeper listening and more open communication to cope with the complex problems facing our organizations, businesses and societies. Renowned scientist David Bohm believed there was a better way for humanity to discover meaning and to achieve harmony. He identified creative dialogue, a sharing of assumptions and understanding, as a means by which the individual, and society as a whole, can learn more about themselves and others, and achieve a renewed sense of purpose.

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Since the late twentieth century, the Venetian courtesan Veronica Franco has been viewed as a triumphant proto-feminist icon: a woman who celebrated her sexuality, an outspoken champion of women and their worth, and an important intellectual and cultural presence in sixteenth-century Venice. In Veronica Franco in Dialogue, Marilyn Migiel provides a nuanced account of Franco’s rhetorical strategies through a close analysis of her literary work. Focusing on the first fourteen poems in the Terze rime, a collection of Franco’s poems published in 1575, Migiel looks specifically at back-and-forth exchanges between Franco and an unknown male author. Migiel argues that in order to better understand what Franco is doing in the poetic collection, it is essential to understand how she constructs her identity as author, lover, and sex worker in relation to this unknown male author. Veronica Franco in Dialogue accounts for the moments of ambivalence, uncertainty, and indirectness in Franco’s poetry, as well as the polemicism and assertions of triumph. In doing so, it asks readers to consider their ideological investments in the stories we tell about early modern female authors and their cultural production.

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Not long ago, two friends Jean Baudrillard and Enrique Valiente Noailles the one having come from Buenos Aires, the other from nowhere, met in Paris. They had a long discussion without any precise aim. It was, rather, a way of rubbing up against metaphysics without risk of contagion. They called it Exiles from Dialogue as a mirrored homage to Bertolt Brecht and shortly afterwards they parted company and went their separate ways. In this remarkable new book based on this gnomic meeting, Baudrillard and Noailles range over the entirety of philosophy and thought underpinning Baudrillards unique work, from In the Shadow of the Silent Majorities (1983) to his recent writings on 9/11. Philosophically, the book takes in its breadth Heraclitus to Wittgenstein by way of Plato, Aristotle, Kant, Hegel, Kierkegaard and Nietzche. Its literary sources are diverse: Gracian and Saul Bellow, Hlderlin and Stanislaw Lec; and the theories of Fukuyama, Barthes and Kristeva are weighed, considered and analysed. With his usual incandescent brilliance, Baudrillard discusses the central themes of his writing: thought as (non-prophetic) anticipation; tragic acceptance of the world; the disappearance of the world into simulation; the death of the social (and with it the Left). Vitally, Baudrillard corrects some of the misconceptions that plague his work (about his fatal strategies, for example), qualifies some of his bolder pronouncements (notably softening his position on the question of the virtual) and pushes other lines of thinking further than ever before. Razor-sharp, volatile and capacious, this book will be essential reading for students and scholars of Baudrillard and those interested in the theories and philosophies that currently abound and rebound in the social sciences and humanities.

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While Munch's pessimistic, melancholy world view crucially defines our understanding of his work, many important postwar and contemporary artists have drawn inspiration from several aspects of his oeuvre. This richly illustrated book explores how seven such artists- Georg Baselitz, Miriam Cahn, Peter Doig, Marlene Dumas, Tracey Emin, Jasper Johns and Andy Warhol-engaged with Munch's work at different points in, or throughout, their careers. It features elaborate reproductions of sixty works by Munch juxtaposed with those inspired by him. Readers discover how Baselitz cunningly pays tribute to his artistic hero how Tracey Emin's practice, like Munch's, is autobiographical, both drawing from their personal torment to create their unnerving works ; how Marlene Dumas was drawn to the expressiveness of Munch's portraits; and how Peter Doig draws on Munch's radical treatment of pigments and materiality. Essays by leading scholars detail each artist's unique preoccupation with Munch and offer a focused exploration of the ways women artists in particular were inspired by his examinations of loneliness, fear, and trauma.

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For the internationally renowned artist and wood turner Ernst Gamperl, the dialogue with the exceptionally vital material of wood is a source of creative inspiration. He works it with a technique bordering on magic and embraces its natural drying-out process in the design of his pieces, giving rise to impressive, powerful forms. Ernst Gamperl’s most extensive work in wood to date was created from a 230-year-old oak tree uprooted by a hurricane. In an ongoing process lasting 10 years — the Lebensbaum (Tree of Life) project — he transformed this mighty tree into a unique ensemble of 97 differently formed vessels and objects, one of which was awarded the famous LOEWE Craft Prize in 2017. The publication is an impressive documentation of the artisanal-artistic work process as well as the Lebensbaum project in its entirety. Text in English and German.

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Sound in cinema is a fascinating area that is just beginning to get the attention it deserves. This innovative book highlights the workers who collaborated inside and outside Hollywood to produce dialogue, sound effects and music for motion pictures. It demonstrates the transformative powers of sound as they shape the specific ways in which film meaning is made. It interrogates the statement that 'the silent screen was never silent', shows how Altman & Malick pushed the boundares of dialogue, what Dolby did to movies, how Walter Murch, Alfred Newman, John Williams and many more scored and composed and how cinematic sound is adapting to digital exhibition on computer screens and smartphones. The overall objective is to make it hard for us to see films in the same way again.

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This work effects a rhetorical-philosophical reading of the historically problematic relationship between Jews and Germans, based on analysis of texts from the Enlightenment through Modernism by Mendelssohn, Friedrich and Dorothea Schlegel, Marx, Wagner, Nietzsche and Freud.

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Few philosophers have devoted more than passing attention to similarities between the thought of Søren Kierkegaard, a Danish Christian, and Emmanuel Levinas, a French Jew. Here, one of philosophy of religion's most distinctive voices offers a sustained comparison. Focusing on questions surrounding otherness, transcendence, postmodernity, and the nature of religious thought, Merold Westphal draws readers into a dialogue between the two thinkers. Westphal's masterful command of both philosophies shows that each can learn from the other. Levinas and Kierkegaard in Dialogue is an insightful and accessible contribution to philosophical considerations of ethics and religion.

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Brings together primary texts from influential Jewish and Christian writers, providing an accessible overview of the major issues and movements in the Christian-Jewish dialogue. The book includes key topics such as anti-Semitism, Jesus, Israel, women and the Holocaust.

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“For what tomorrow will be, no one knows,” writes Victor Hugo. This dialogue, proposed to Jacques Derrida by the historian Elisabeth Roudinesco, brings together two longtime friends who share a common history and an intellectual heritage. While their perspectives are often different, they have many common reference points: psychoanalysis, above all, but also the authors and works that have come to be known outside France as “post-structuralist.” Beginning with a revealing glance back at the French intellectual scene over the past forty years, Derrida and Roudinesco go on to address a number of major social and political issues. Their extraordinarily wide-ranging discussion covers topics such as immigration, hospitality, gender equality, and “political correctness”; the disordering of the traditional family, same-sex unions, and reproductive technologies; the freedom of the “subject” over and against “scientism”; violence against animals; the haunting specter of communism and revolution; the present and future of anti-Semitism (as well as that which marked Derrida’s own history) and the hazardous politics of criticizing the state of Israel; the principled abolition of the death penalty; and, to conclude, a chapter “in praise of psychoanalysis.” These exchanges not only help to situate Derrida's thought within the milieu out of which it grew, they also show more clearly than ever how this thought, impelled by a deep concern for justice, can be brought to bear on the social and political issues of our day. What emerges here above all, far from an abstract, apolitical discourse, is a call to take responsibility—for the inheritance of a past, for the singularities of the present, and for the unforeseeable tasks of the future.

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This is the fourth volume in a ten-volume set designed for publication in 1997. It reprints in book form a selection of the most important and influential articles on probability, econometrics and economic games which cumulatively have had a major impact on the development of modern economics. There are 242 articles, dating from 1936 to 1996. Many of them were originally published in relatively inaccessible journals and may not, therefore, be available in the archives of many university libraries. The volumes are available separately and also as a complete ten-volume set. The contributors include D. Ellsberg, R.M. Hogart, J.B. Kadane, B.O. Koopmans, E.L. Lehman, D.F. Nicholls, H. Rubin, T.J. Sarjent, L.H. Summers and C.R. Wymer. This particular volume deals with the dialogues and beliefs that underpin probability concepts.

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Since the earliest days of human history, and in all cultures, religion and art have always complemented one another. But the intellectual and spiritual dimension of this interaction has all too often been taken for granted and is never properly explored. Rarely has the dialogue between religion and art been better examined than in this book. In their profound and moving conversations, philosopher of aesthetics Rene Huyghe and Buddhist leader Daisaki Ikeda compare modes of thought from the opposite ends of the earth: from traditions, cultures and religions as different from each other as can be. Their guiding theme is the rediscovery of a common humanity through the artistic intuition and religious impulse shared by all peoples. The Dialogue ranges widely, analysing the contemporary predicament from twin perspectives of beauty and the divine. Huyghe and Ikeda look to active solutions to this predicament - at the key to harmony in life, and at the means of reforming our inner lives. Discussing artistic creativity, its spiritual value, and the differing arts of East and West, the interlocutors conclude by evaluating the crucial role played by religion in helping humanity come to terms with the mysteries and challenges of the unknown.

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Dickens’s Dialogue: Margins of Conversation explores the rhetoric of Dickens’s characters and its place in his work. Drawing on Victorian conversation manuals and more recent philosophical, sociological, and linguistic insights into the nature of conversations, Goodin describes three major character types whose rhetorical strategies exemplify the conflicting forces of cooperation and violation that shape many conversations. Bullies such as Eugene Wrayburn (Our Mutual Friend) marshal interruption, interrogation, inattention, silence, and other devices to compete for conversational power. Con artists such as Sam Weller (The Pickwick Papers) seek intimacy or reduced social distance through what they say, whether flattering or self-deprecating, as well as what they do, like whispering or shaking hands. And muddlers such as Cousin Feenix (Dombey and Son) often consciously avoid the perils of clarity by introducing various forms of incoherence—not least by inserting parentheses within parentheses. These strategies also work together in individual novels to further Dickens’s own purposes, as an extended treatment of Dombey and Son shows in Goodin’s concluding chapter.

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“For what tomorrow will be, no one knows,” writes Victor Hugo. This dialogue, proposed to Jacques Derrida by the historian Elisabeth Roudinesco, brings together two longtime friends who share a common history and an intellectual heritage. While their perspectives are often different, they have many common reference points: psychoanalysis, above all, but also the authors and works that have come to be known outside France as “post-structuralist.” Beginning with a revealing glance back at the French intellectual scene over the past forty years, Derrida and Roudinesco go on to address a number of major social and political issues. Their extraordinarily wide-ranging discussion covers topics such as immigration, hospitality, gender equality, and “political correctness”; the disordering of the traditional family, same-sex unions, and reproductive technologies; the freedom of the “subject” over and against “scientism”; violence against animals; the haunting specter of communism and revolution; the present and future of anti-Semitism (as well as that which marked Derrida’s own history) and the hazardous politics of criticizing the state of Israel; the principled abolition of the death penalty; and, to conclude, a chapter “in praise of psychoanalysis.” These exchanges not only help to situate Derrida's thought within the milieu out of which it grew, they also show more clearly than ever how this thought, impelled by a deep concern for justice, can be brought to bear on the social and political issues of our day. What emerges here above all, far from an abstract, apolitical discourse, is a call to take responsibility—for the inheritance of a past, for the singularities of the present, and for the unforeseeable tasks of the future.

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A rare case among history's great music contemporaries, Gustav Mahler (1860-1911) and Richard Strauss (1864-1949) enjoyed a close friendship until Mahler's death in 1911. Unlike similar musical pairs (Bach and Handel, Haydn and Mozart, Schoenberg and Stravinsky), these two composers may have disagreed on the matters of musical taste and social comportment, but deeply respected one another's artistic talents, freely exchanging advice from the earliest days of professional apprenticeship through the security and aggravations of artistic fame. Using a wealth of documentary material, this book reconstructs the 24-year relationship between Mahler and Strauss through collage—"a meaning that arises from fragments," to borrow Adorno's characterization of Mahler's Sixth Symphony. Fourteen different topics, all of central importance to the life and work of the two composers, provide distinct vantage points from which to view both the professional and personal relationships. Some address musical concerns: Wagnerism, program music, intertextuality, and the craft of conducting. Others treat the connection of music to related disciplines (philosophy, literature), or to matters relevant to artists in general (autobiography, irony). And the most intimate dimensions of life—childhood, marriage, personal character—are the most extensively and colorfully documented, offering an abundance of comparative material. This integrated look at Mahler and Strauss discloses provocative revelations about the two greatest western composers at the turn of the 20th century.

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A good story can easily be ruined by bad dialogue. Now in its 4th edition, Rib Davis’s bestselling Writing Dialogue for Scripts provides expert insight into how dialogue works, what to look out for in everyday speech and how to use dialogue effectively in scripts. Examining practical examples from film, TV, theatre and radio, this book will help aspiring and professional writers alike perfect their skills. The 4th edition of Writing Dialogue for Scripts includes: a look at recent films, such as American Hustle and Blue Jasmine; TV shows such as Mad Men and Peaky Blinders; and the award winning play, Ruined. Extended material on use of narration within scripts (for example in Peep Show) and dialogue in verbatim scripts (Alecky Blythe’s London Road) also features.

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Written in the form of a back-and-forth dialogue between the two authors, this book is about the relationship between feeling and thinking in Dickens''s novels. It presents Dickens as a psychological thinker, whose generative thought may be conscious, unconscious, half-conscious, or in transit between one state and another. This Dickens is always in live process, improvizing from one monthly number to the next, subtly revizing as he goes, shifting moods, tenses, and tones from one paragraph or sentence to the next, as what he writes sparks off what he suddenly, newly, thinks. The chapters approach this inquiry through close readings of chosen passages, including studies of telling revisions in Dickens''s manuscripts that reveal the power of his deepened second thoughts. They also draw on selected moments from his personal letters and prefaces when these more casual writings prove to be sketches or rehearsals for thoughts and feelings that achieve new life when they are transformed into

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What are the pressing questions in architecture – in teaching, research and practice? Based on their many years of experience, professors Inès Lamunière and Laurent Stalder come together in five meetings to search for answers. They describe an approach to architecture that is based on intellect as well as intuition and is both strict and pragmatic. And they sketch out creative processes that are indispensable in the development of projects with all their constraints in order to master the future challenges faced by the art of building.

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REVISED & EXPANDED 2nd EDITIONRenowned internationally for her lyrically unsettling novels Book of Clouds, Asunder and Sea Monsters, the Mexican writer Chloe Aridjis crosses borders in her work as much as she traverses them in life. Now, collected here for the first time, her stories, essays and pen portraits reveal an author as imaginatively at home in the short form as in her longer fiction. At once fabular and formally innovative, acquainted with reverie and rigorous report, sensitive to the needs of a wider ecology yet familiar with the landscapes of the unconscious, her texts are both dream dispatches and wayward word plays infused with the pleasure and possibilities of language. Conversations with the presences who dwell on the threshold of waking and reverie, flâneuses of the dusk and dawn, these pieces will stay with you long after the lamps have flickered out.

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