Jonathan Harvey (1939-2012) was one of Britain's leading composers: his music is frequently performed throughout Europe, the United States (where he lived and worked) and Japan. He is particularly renowned for his electro-acoustic music, an aspect on which most previous writing on his work has focused. The present volume is the first detailed study of music from Harvey's considerable body of work for conventional forces. It focuses on two pieces that span one of the most fertile periods in Harvey's output: Song Offerings (1985; awarded the prestigious Britten Award), and White as Jasmine (1999). The book explores the links between the two works - both set texts by Hindu writers, employ a solo soprano, and adumbrate a spiritual journey - as well as showing how Harvey's musical language has evolved in the period between them. It examines Harvey's techniques of writing for the voice, for small ensemble (Song Offerings), and for large orchestra, subtly and characteristically enhanced with electronic sound (White as Jasmine). It shows how Harvey's music is informed by his profound understanding of Eastern religion, as well as offering a clear and accessible account of his distinctive musical language. Both works use musical processes to dramatic and clearly audible effect, as the book demonstrates with close reference to the accompanying CD recordings. The book draws on interviews with the composer, and benefits from the author's exclusive access to sketches of the two works. It contextualises the works, showing how they are the product of a diverse series of musical influences and an engagement with ideas from both Eastern and Western religions. It also explores how Harvey continued to develop the musical and spiritual preoccupations revealed in these pieces in his later work, up to and including his third opera, Wagner Dream (2007).
Premiered at the Bush theatre in 1993 Beautiful Thing was released as a feature film by Channel Four films in 1996 directed by Hettie Macdonald and featuring Meera Syal Beautiful Thing explores pre-teenage homo-erotic sensuality and the frictions and intimacies of living cheek by jowl on a Thamesmead housing estate.
2017 Pregnant Rachel Taylor is enjoying a holiday in Morocco when she gets the phone call to say her mother hasn’t got much time left to live. With a head of mixed emotions she returns to the village where she grew up to say her last goodbyes. It’s true to say their relationship had often been strained and Rachel had never quite understood why. When clearing out her mother’s things she thinks she finds an answer, and her world is changed forever. 1978 Shirley Burke is on a family holiday at Butlin’s when she first sets eyes on Doug, a man considerably older than herself. When his daughter goes missing one night, Shirley’s the one who finds her and returns her to him. When his gratitude turns into something else, Shirley realizes this is her time to shine. But Doug is married, and her young life is about to get very complicated. Rachel and Shirley. Two women from different decades in Jonathan Harvey's The Years She Stole. Somehow their lives are entwined and neither can know the impact one woman will have on the other until it’s way too late . . .
Liverpool 1985 Kathleen, Adam and Jocelyn are three teenage friends who bond over an unconventional nativity play. They all have ambitions, they all have dreams. Adam wants to be a writer, Jocelyn wants to sing and Kathleen - well, she wants to be an embalmer. London 2015 Kathleen is a borderline alcoholic, Adam is holding on to a shocking secret and Jocelyn is dead. Where did it all go wrong? How did having the world at their feet turn into having the weight of it on their shoulders? Filled with Jonathan Harvey's trademark wit, warmth and outrageous humour, The History of Us is a novel about friendship and secrets, the choices we make and the consequences we face.
‘Laugh out loud’ Marian Keyes ‘Hugely Enjoyable’ Kathy Burke There are some things in life you can always rely on. Living in the shadow of your ‘perfect’ brother Joey, getting the flu over Christmas, and your Mother showing you up in the supermarket. Then there are some things you really don’t count on happening: a good dose of fame, getting completely trashed at an awards ceremony, and catching your fella doing something unmentionable on your wedding day. This is my story, it’s dead tragic. You have been warned... Jodie Xx
Inspired by the author’s personal experience of sustaining acquired brain injury (ABI), this path-breaking book explores the (re)construction of identity after ABI. It offers a way of understanding ABI through a social scientific lens, promoting an understanding that is generated through close engagement with the lives and experiences of ABI survivors. The author follows the everyday experiences of six male survivors and critically investigates their identity (re)construction after their ABI. As well as demonstrating identity (re)construction after ABI, the experiences of the participants allow the reader to investigate neurological rehabilitation from their perspective. This book suggests that rehabilitation after ABI is often a continual process that extends beyond the formal, medically prescribed period. It also shows that identity after ABI is often (re)constructed in an unpredictable way; a way that emphasises the importance of reciprocal support and the uncertainty of future life. A Sociological Approach to Acquired Brain Injury and Identity is essential reading for academics and students from a range of social scientific disciplines with an interest in biographical or ethnographic research methods. This book offers a social scientific view of rehabilitation and as such is also essential reading for academics, students and professionals with an interest in health and illness, particularly neurological rehabilitation and brain injury rehabilitation.
London 2014. Holly Smith has never fitted in. Adopted when just a few months old, she's always felt she was someone with no history, the girl who just appeared. All she has is the address of where she was born - 32B Gambier Terrace, Liverpool. By a bizarre twist of fate Holly discovers that the flat is available to rent. She travels north and moves in. When she finds a biscuit tin full of yellowing papers under the floorboards, she wonders if this might hold the secret to her past. Liverpool 1981. Fifteen-year-old Darren negotiates life with his errant mother and the younger brother he is bringing up. When the Toxteth Riots explode around him Darren finds himself with a moral dilemma that will have consequences for the rest of his life. Flitting between the present and the past, we discover how Darren and Holly's lives become intertwined. Will Holly uncover the secrets of her past? Or will she always feel like the girl who just appeared?
It's hard being that woman, the one whose husband disappeared. It's made me quite famous. I just wish it was for something else. He went out five years ago for a pint of milk and never came back. So here I am with a daughter who blames me for all that's wrong in the world, a son trying his best to pick up the pieces and a gaggle of new neighbours who are over friendly, and incredibly nosy. Then I find a left luggage ticket in the pocket of one of his old coats and suddenly I'm thinking... What's if he's not dead? What if he's still out there somewhere? You think you have the perfect life, the perfect kids, and then it's all turned inside out. What if I don't like what I find? And is it a chance I'm willing to take?
The brilliant new play from the writer of Beautiful Thing "What you don't know, don't hurt you" Tony's ready to live-it-large and love again. But his efforts to step back on to the scene are hampered by a secret his friends, Monica and Kevin, should have told him a long time ago. Out in the Open is a funny and caustic exploration of love and the limits of friendship set over a long, hazily hot summer weekend in London. Directed by Kathy Burke, Out in the Open premiered at London's Hampstead Theatre in March 2001 and transferred to Birmingham Rep.
Winner of the George Devine Award in 1993, Babies premiered at the Royal Court theatre, London in September 1994 Liverpudlian Joe Casey is twenty-four, gay and a form tutor at a south-east London comprehensive. Joe's life is spliced between the drug-using excesses of his lover Woodie and the advances of his female pupils (and their mothers). A warm and funny comedy by the author of the 1993 hit Beautiful Thing.
Canary is multi-award winning playwright Jonathan Harvey's long-awaited return to the stage: a deeply moving, funny, unflinching, and often magical story about love, honesty and being brave enough to sing out at the top of your voice - with style. In 1960s Liverpool two lovers hide their homosexuality in the closet, then go their separate ways. While pits close and dole queues grow, a couple of runaways find Heaven in 1980s London. And today the paparazzi chase a love story that could tear a family apart. Then a grieving mother gets lost up a mountain, with a vicar for some dubious consolation. With a unique richness of texture and range, Canary combines pathos and humour with a wildly ambitious scope crossing decades through cyclical family histories. The diverse character list includes a primetime TV host, Queen Isabella, Eleanor Rigby, an 'aversion therary' doctor, Mary Whitehouse and striking miners. Skilfully pulling these wide-ranging threads together, Canary provides a social overview of Britain during the last 50 years, with a focus on the struggle against homophobia. Jonathan Harvey's trademark style of warmth, poignancy, humour and imagination is obvious in this epic, Liverpudlian Angels in America for the 21st century.
Hello. There are two things you should know about me: 1) My name is Karen Carpenter. 2) Just before Christmas my boyfriend left me. I’m not THE Karen Carpenter. I just have the most embarrassing name in Christendom. Particularly as I’m no skinny minny and don’t play the drums. I can’t even sing. I’m tone deaf. I work in a school in the East End. (Where I came third in a ‘Teacher we’d most like to sleep with’ competition amongst the Year 11 boys) My Mum’s driving me mad. She’s come to stay and is obsessed with Scandi crime shows and Zumba. Oh yeah. The boyfriend. After eleven ‘happy’ years he left me. No explanation just a post it on the kettle when I got in from work. I think I’m handling it really well. I don’t think I’m confused at all. What was my name again?
A new collection of the latest plays from the writer of Beautiful Thing and TV's Gimme, Gimme, Gimme "JONATHAN HARVEY has an athletic and fantastical imagination, bawdy, funny and joyously blasphemous" Sunday Times GUIDING STAR: "Dry, funny, truthful, the writing buzzes with graceful perception and Scouse sarcasm...one of the best new plays of the year" Daily Mail HUSHABYE MOUNTAIN: "You would have to have a heart hewn from granite not to respond warmly to Jonathan Harvey's latest play" Guardian OUT IN THE OPEN: "A touching exploration of grief, the secrets and lies that evolve in friendships and the difficulty of telling the truth to those we love" The Times
Figures majeures de la scène musicale anglaise, Jonathan Harvey, encouragé par Benjamin Britten, formé auprès d'Erwin Stein dans la tradition schoenberguienne, il est également l'héritier d'une histoire proprement britannique : celle des chœurs et de la musique d'église.
Jonathan Harvey's most popular plays collected in one volume for the first time. Contains the smash hit plays Beautiful Thing - a bittersweet tale of the joys and trials of living cheek-by-jowl in a Thamesmead housing estate; Babies - based on the playwright's experiences as a teacher which was 'mercilessly robbed from a particular night when I arrived at a pupil's birthday party to be entertained by a drag queen dressed as the Queen'; The Rupert Street Lonely Hearts Club - set among the low-life of Soho, centring on the Marti, a gay man of a certain age, who can't believe that anyone might fancy him; and Boom Bang-A-Bang - a play about a gathering to view the Eurovision song contest.
Les intérêts du compositeur anglais Jonathan Harvey sont vastes et variés, embrassant le Christianisme, le Bouddhisme, la philosophie orientale et occidentale, l'esthétique, la science et le mysticisme. Harvey explore les aspects de la musique qu'il relie à la spiritualité : l'identité du moi, l'ambiguïté, l'unité, la stase et le silence. Au cours de ces explorations, il présente des analyses approfondies sur la musique et la spiritualité à partir de sources allant de Nietzsche à Olivier Sachs. Il s'appuie sur des compositeurs comme Mozart, Scriabine, Stockhausen et d'autres.
Drawing together the work of ten leading playwrights ? a mixture of established and current writers ? National Theatre Connections 2013 offers young performers between the ages of thirteen and nineteen everywhere an engaging selection of plays to perform, read or study. Each play is specifically commissioned by the National Theatre's literary department and reflects the past year's programming at the venue in the plays' ideas, themes and styles. The plays are performed by approximately 200 schools and youth theatre companies across the UK and Ireland, in partnership with multiple professional regional theatres where the works are showcased. The volume features an introduction by Anthony Banks, Associate Director for the National Theatre Discover Programme, and each play includes notes from the writer and director addressing the themes and ideas behind the play, as well as production notes and exercises. Published to coincide with the 2013 Connections festival, and the 50th anniversary of the National Theatre, this year's collection features work from Howard Brenton, Jim Cartwright, Lucinda Coxon, Ryan Craig, Stacey Gregg, Jonathan Harvey, Lenny Henry, Jemma Kennedy, Morna Pearson, and Anya Reiss.
Movement Disorders in Childhood, Second Edition, provides the most up-to-date information on the diseases and disorders that affect motor control, an important area of specialization within child neurology. Over the past several decades, advances in genetics, neuroimaging, neurophysiology, and other areas of neuroscience have provided new understanding of the underlying etiologies and mechanisms of these conditions as well as new opportunities for more accurate diagnosis and effective treatment. This new edition builds upon the success of the first edition, with comprehensive scientific and clinical updates of all chapters. In addition, there are new chapters on hereditary spastic paraplegia, quantitative motor assessments, autoimmune disorders, and movement disorders in the developmental neuropsychiatric disorders ADHD, OCD, and autism. Additional materials are provided on the latest in drug treatments, computer based strategies for genetic diagnosis, and helpful videos for phenomenology. Provides the only current reference specifically focused on childhood movement disorders Investigates the underlying etiologies and mechanisms of these disorders Completely revised and updated with new materials and a more disease-oriented approach New coverage of genetics and movement disorders, immunology and movement disorders, and an introduction to the latest quantitative analysis New videos of instructive and unusual childhood movement disorders
An extraordinary new novel by Samantha Harvey—whose books have been nominated for the Man Booker Prize, the Women’s Prize for Fiction (formerly the Orange Prize), and the Guardian First Book Award—The Western Wind is a riveting story of faith, guilt, and the freedom of confession. It’s 1491. In the small village of Oakham, its wealthiest and most industrious resident, Tom Newman, is swept away by the river during the early hours of Shrove Saturday. Was it murder, suicide, or an accident? Narrated from the perspective of local priest John Reve—patient shepherd to his wayward flock—a shadowy portrait of the community comes to light through its residents’ tortured revelations. As some of their darkest secrets are revealed, the intrigue of the unexplained death ripples through the congregation. But will Reve, a man with secrets of his own, discover what happened to Newman? And what will happen if he can’t? Written with timeless eloquence, steeped in the spiritual traditions of the Middle Ages, and brimming with propulsive suspense, The Western Wind finds Samantha Harvey at the pinnacle of her outstanding novelistic power.
In this New York Times bestselling memoir, Ray Lewis—legendary Baltimore Ravens linebacker and one of the greatest defensive players of his generation—holds nothing back on the state of football as well as his troubled childhood, his rise to athletic greatness, the storm that threatened to ruin his NFL career, and the devastating injury that nearly cost him a final moment of glory. Ray Lewis is undeniably one of the biggest names in football—not only for his seventeen years in the NFL, but also for the dramatic events that nearly brought his career to a halt in 2000. In his memoir, Lewis shares honest accounts of his difficult childhood and delves into the anguish and controversy that he found away from the game. But these heartbreaks gave him the courage to trust in God and continue his dream to play for the NFL and win the Super Bowl. From a rookie player to a football veteran, Lewis has experienced everything imaginable during his football career, and has become one of the best defensive players in the history of the NFL. I Feel Like Going On is the story of his incredible journey, and a sincere look at the most popular sport in America from one of football’s most revered players.
This critical introduction to gay and lesbian identity within the media explores the concept of 'new storytelling'. The case studies look at film, television and online media, focussing on the narrative potential of individual storytellers who, as producers, writers and performers, challenge identity concerns and offer new expressions of liberty.
Neoliberalism - the doctrine that market exchange is an ethic in itself, capable of acting as a guide for all human action - has become dominant in both thought and practice throughout much of the world since 1970 or so. Its spread has depended upon a reconstitution of state powers such that privatization, finance, and market processes are emphasized. State interventions in the economy are minimized, while the obligations of the state to provide for the welfare of its citizens are diminished. David Harvey, author of 'The New Imperialism' and 'The Condition of Postmodernity', here tells the political-economic story of where neoliberalization came from and how it proliferated on the world stage. While Thatcher and Reagan are often cited as primary authors of this neoliberal turn, Harvey shows how a complex of forces, from Chile to China and from New York City to Mexico City, have also played their part. In addition he explores the continuities and contrasts between neoliberalism of the Clinton sort and the recent turn towards neoconservative imperialism of George W. Bush. Finally, through critical engagement with this history, Harvey constructs a framework not only for analyzing the political and economic dangers that now surround us, but also for assessing the prospects for the more socially just alternatives being advocated by many oppositional movements.
This book deals with one particular aspect of British drama between the 1890s and the late 20th century: ‘queerness’. ‘Queerness’ is a term that in the last two decades has come to be used predominantly to refer to manifestations of homosexuality, male and female, and otherness. In total, this book concentrates on four examples: The Importance of Being Earnest by Oscar Wilde, What the Butler Saw by Joe Orton, Boom Bang-A-Bang by Jonathan Harvey and Handbag by Mark Ravenhill. These works are analysed with sections concentrating on figure conception and characterisation and additionally discourse and language use. Furthermore, an introduction to drama theory, discourse theory and ‘queer theories’ will be given as well as some preliminary definitions of ‘homosexuality’, ‘queerness’, ‘heteronormativity’ and ‘otherness’. From the text: - Discourse Theory; - Queer Theory; - Oscar Wilde; - Joe Orton; - Jonathan Harvey; - Mark Ravenhill
Karl Marx's Capital is one of the most important texts written in the modern era. Since 1867, when the first of its three volumes was published, it has had a profound effect on politics and economics in theory and practice throughout the world. But Marx wrote in the context of capitalism in the second half of the nineteenth century: his assumptions and analysis need to be updated in order to address to the technological, economic, and industrial change that has followed Capital's initial publication. In Marx, Capital, and the Madness of Economic Reason, David Harvey not only provides a concise distillation of his famous course on Capital, but also makes the text relevant to the twenty-first century's continued processes of globalization. Harvey shows the work's continuing analytical power, doing so in the clearest and simplest terms but never compromising its depth and complexity. Marx, Capital, and the Madness of Economic Reason provides an accessible window into Harvey's unique approach to Marxism and takes readers on a riveting roller coaster ride through recent global history. It demonstrates how and why Capital remains a living, breathing document with an outsized influence on contemporary social thought.
In CIA parlance, those who knew were “witting.” Everyone else was among the “unwitting.” On a bright November day in 1963, President Kennedy is shot. That same day, Nell Benjamin receives a phone call with news about her husband, the influential young editor of a literary magazine. As the nation mourns its public loss, Nell has her private grief to reckon with, as well as a revelation about Charlie that turns her understanding of her marriage on its head, along with the world she thought she knew. With the Cold War looming ominously over the lives of American citizens in a battle of the Free World against the Communist powers, the blurry lines between what is true, what is good, and what is right tangle with issues of loyalty and love. As the truths Nell discovers about her beloved husband upend the narrative of her life, she must question her own allegiance: to her career as a journalist, to her country, but most of all to the people she loves. Set in the literary Manhattan of the 1950s, at a journal much like the Paris Review, The Unwitting evokes a bygone era of burgeoning sexual awareness and intrigue and an exuberance of ideas that had the power to change the world. Resonant, illuminating, and utterly absorbing, The Unwitting is about the lies we tell, the secrets we keep, and the power of love in the face of both. Praise for The Unwitting “Much of the fun comes from the literary cameos (think: Mary McCarthy, Richard Wright and Robert Lowell), but it’s [Ellen Feldman’s] haunting portrait of a marriage that make this Cold War novel so resonant for readers of any time period, including our own.”—O: The Oprah Magazine “The first notable thing about this book is the narrator’s voice: it is snappish, confident, argumentative, literate. I fell for it from the beginning. . . . The Unwitting is vibrant, sassy, informative, a page-turner, absorbing, and swift. I am a woman, so maybe it is a women’s book, but I seriously doubt it, and hope that male readers will give it a shot. Surely they too will appreciate the research that went into it. Surely they too will be fascinated by its bold and thorough review of the American twentieth century.”—Kelly Cherry, The Los Angeles Review of Books “Compelling enough to take its place with the best of crime fiction, Feldman’s language is loving, bright and sharp while her storytelling abilities are unquestionable. . . . The Unwitting cuts us into an interesting time, then ramps things up. . . . Feldman is clearly a writer who is going places, [and] The Unwitting brings that home: it’s a terrific book.”—January Magazine “A story of love and intrigue during the Cold War, The Unwitting plumbs not only the secrets of spies, but those of the human heart. Moving, witty, and thoroughly intelligent, it is an absorbing and deeply satisfying read.”—Kevin Baker, author of The Big Crowd “Unforgettable . . . The Unwitting compelled me from the first page and through every unexpected twist and turn. This look into the dark places in human nature cries out to be read, re-ead, and discussed.”—Lynn Cullen, author of the national bestseller Mrs. Poe “Through the lens of a passionate, complex marriage, Ellen Feldman brings the Cold War back to life. The Unwitting is a wise and irresistible portrait of fascinating people in a tumultuous time.”—Roger Straus III, former managing director, Farrar, Straus and Giroux From the Hardcover edition.
Whether you are a university professor, researcher at a think tank, graduate student, or analyst at a private firm, chances are that at some point you have presented your work in front of an audience. Most of us approach this task by converting a written document into slides, but the result is often a text-heavy presentation saddled with bullet points, stock images, and graphs too complex for an audience to decipher—much less understand. Presenting is fundamentally different from writing, and with only a little more time, a little more effort, and a little more planning, you can communicate your work with force and clarity. Designed for presenters of scholarly or data-intensive content, Better Presentations details essential strategies for developing clear, sophisticated, and visually captivating presentations. Following three core principles—visualize, unify, and focus—Better Presentations describes how to visualize data effectively, find and use images appropriately, choose sensible fonts and colors, edit text for powerful delivery, and restructure a written argument for maximum engagement and persuasion. With a range of clear examples for what to do (and what not to do), the practical package offered in Better Presentations shares the best techniques to display work and the best tactics for winning over audiences. It pushes presenters past the frustration and intimidation of the process to more effective, memorable, and persuasive presentations.
The Methuen Drama Guide to Contemporary British Playwrights is an authoritative guide to the work of twenty-five playwrights who have risen to prominence since the 1980s. Written by an international team of scholars, it will be invaluable to anyone interested in, studying or teaching contemporary drama. Among the many playwrights whose work is examined are Sarah Daniels, Terry Johnson, Martin Crimp, Sarah Kane, Anthony Neilson, Mark Ravenhill, Simon Stephens, Debbie Tucker Green, Tanika Gupta and Richard Bean. Each essay features: A biographical sketch and introduction to the playwright A discussion of their most important plays An analysis of their stylistic and thematic traits, the critical reception and their place in the discourses of British theatre A bibliography of texts and critical material
Few American artists in any medium have enjoyed the international and lasting cultural impact of Duke Ellington. From jazz standards such as “Mood Indigo” and “Don’t Get Around Much Anymore,” to his longer, more orchestral suites, to his leadership of the stellar big band he toured and performed with for decades after most big bands folded, Ellington represented a singular, pathbreaking force in music over the course of a half-century. At the same time, as one of the most prominent black public figures in history, Ellington demonstrated leadership on questions of civil rights, equality, and America’s role in the world. With Duke Ellington’s America, Harvey G. Cohen paints a vivid picture of Ellington’s life and times, taking him from his youth in the black middle class enclave of Washington, D.C., to the heights of worldwide acclaim. Mining extensive archives, many never before available, plus new interviews with Ellington’s friends, family, band members, and business associates, Cohen illuminates his constantly evolving approach to composition, performance, and the music business—as well as issues of race, equality and religion. Ellington’s own voice, meanwhile, animates the book throughout, giving Duke Ellington’s America an intimacy and immediacy unmatched by any previous account. By far the most thorough and nuanced portrait yet of this towering figure, Duke Ellington’s America highlights Ellington’s importance as a figure in American history as well as in American music.
This book is designed and intended to be the first in a series. It deals with the time leading up to the start of the period of great tribulation. The important thing to catch from this book is the big picture, not the small details, though there are a multitude of details.
NEW YORK TIMES BESTSELLER “One of the greatest tricks that the patriarchy plays on women is to deliberately destabilize them, then use their instability as a reason to disbelieve them. Much of BRAVE reads like the diary of a woman driven half-mad by abusive men who assume no one will listen to her. In this case, the truth was finally—and, for McGowan, triumphantly—exposed...” —The New York Times Book Review "BRAVE works beautifully as a manifesto. It’s a call to arms—not just against the specific men who mistreated McGowan and the men and women who enabled that mistreatment, but against an industry."—The Boston Globe A revealing memoir and empowering manifesto – A voice for generations Rose McGowan was born in one cult and came of age in another, more visible cult: Hollywood. In a strange world where she was continually on display, stardom soon became a personal nightmare of constant exposure and sexualization. Rose escaped into the world of her mind, something she had done as a child, and into high-profile relationships. Every detail of her personal life became public, and the realities of an inherently sexist industry emerged with every script, role, public appearance, and magazine cover. The Hollywood machine packaged her as a sexualized bombshell, hijacking her image and identity and marketing them for profit. Hollywood expected Rose to be silent and cooperative and to stay the path. Instead, she rebelled and asserted her true identity and voice. She reemerged unscripted, courageous, victorious, angry, smart, fierce, unapologetic, controversial, and real as f*ck. BRAVE is her raw, honest, and poignant memoir/manifesto—a no-holds-barred, pull-no-punches account of the rise of a millennial icon, fearless activist, and unstoppable force for change who is determined to expose the truth about the entertainment industry, dismantle the concept of fame, shine a light on a multibillion-dollar business built on systemic misogyny, and empower people everywhere to wake up and be BRAVE. "My life, as you will read, has taken me from one cult to another. BRAVE is the story of how I fought my way out of these cults and reclaimed my life. I want to help you do the same." -Rose McGowan
In studying performances of marriage in modern and contemporary British and American drama, Clum highlights the fact that - paradoxically - at a time when theatre was both popular entertainment and high culture, many of the most commercially and artistically successful plays about marriage were written by homosexual men. Beginning with Oscar Wilde and focusing on some of the most successful British and American playwrights of the past century, including Somerset Maugham, Noël Coward, Terence Rattigan, and Emlyn Williams in England and Clyde Fitch, George Kelly, Tennessee Williams, William Inge, and Edward Albee in the US, The Drama of Marriagelooks at how the plays they wrote about heterosexual marriage continue to impact contemporary gay playwrights and the depiction of marriage today.
This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have mad
Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials, some created beforehand in a studio, some coded 'on the fly', others 'plundered' from the widest possible range of sources. But others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. Some composers claim they just 'respond' to sound and compose 'with their ears', while others use models and analogies of previously 'non-musical' processes. It is evident that in such new musical practices the human body has a new relationship to the sound. There is a historical dimension to this, for since the earliest electroacoustic experiments in 1948 the body has been celebrated or sublimated in a strange 'dance' of forces in which it has never quite gone away but rarely been overtly present. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear.
In this revised and expanded third edition of the classic text on the history and evolution of electronic and computer music, Peter Manning provides the definitive account of the medium from its birth to the present day. After explaining the antecedents of electronic music from the turn of the century to the Second World War, Manning discusses the emergence of early "classical" studios of the 1950s. He goes on to chronicle the upsurge of creative activity during the 1960s and 70s in the analog domain, as well as with live electronic music and the early use of electronics in rock and pop music. This edition contains new information about software innovations, digital media and the essential features of digital and audio control, the MIDI synthesizer and its many derivatives, and the evolution of computer workstations and multimedia personal computers. Manning offers a critical perspective of the medium both in terms of its musical output and the philosophical and technical features that have shaped its growth. Emphasizing the functional characteristics of emerging technologies and their influence on the creative development of the medium, Manning covers key developments in both commercial and the non-commercial sectors to provide readers with the most comprehensive resource available on this ever-evolving subject.
In an increasingly competitive global market, winemakers are seeking to increase their sales and wine regions to attract tourists. To achieve these aims, there is a trend towards linking wine marketing with identity. Such an approach seeks to distinguish wine products – whether wine or wine tourism – from their competitors, by focusing on cultural and geographical attributes that contribute to the image and experience. In essence, marketing wine and wine regions has become increasingly about telling stories – engaging and provocative stories which engage consumers and tourists and translate into sales. This timely book examines this phenomena and how it is leading to changes in the wine and tourism industries for the first time. It takes a global approach, drawing on research studies from around the world including old and new world wine regions. The volume is divided into three parts. The first – branding – investigates cases where established regions have sought to strengthen their brands or newer regions are striving to create effective emerging brands. The second – heritage – considers cases where there are strong linkages between cultural heritage and wine marketing. The third section – terroir – explores how a ‘sense of place’ is inherent in winescapes and regional identities and is increasingly being used as a distinctive selling proposition. This significant volume showcasing the connections between place, identity, variety and wine will be valuable reading for students, researchers and academics interested in tourism, marketing and wine studies.
On the 150th anniversary of his birth comes this monumental biography of Arturo Toscanini, whose dramatic life is unparalleled among twentieth-century musicians. It may be difficult to imagine today, but Arturo Toscanini—recognized widely as the most celebrated conductor of the twentieth century—was once one of the most famous people in the world. Like Einstein in science or Picasso in art, Toscanini (1867–1957) transcended his own field, becoming a figure of such renown that it was often impossible not to see some mention of the maestro in the daily headlines. Acclaimed music historian Harvey Sachs has long been fascinated with Toscanini’s extraordinary story. Drawn not only to his illustrious sixty-eight-year career but also to his countless expressions of political courage in an age of tyrants, and to a private existence torn between love of family and erotic restlessness, Sachs produced a biography of Toscanini in 1978. Yet as archives continued to open and Sachs was able to interview an ever-expanding list of relatives and associates, he came to realize that this remarkable life demanded a completely new work, and the result is Toscanini—an utterly absorbing story of a man who was incapable of separating his spectacular career from the call of his conscience. Famed for his fierce dedication but also for his explosive temper, Toscanini conducted the world premieres of many Italian operas, including Pagliacci, La Boheme, and Turandot, as well as the Italian premieres of works by Wagner, Brahms, Tchaikovsky, and Debussy. In time, as Sachs chronicles, he would dominate not only La Scala in his native Italy but also the Metropolitan Opera, the New York Philharmonic, and the NBC Symphony Orchestra. He also collaborated with dozens of star singers, among them Enrico Caruso and Feodor Chaliapin, as well as the great sopranos Rosina Storchio, Geraldine Farrar, and Lotte Lehmann, with whom he had affairs. While this consuming passion constantly blurred the distinction between professional and personal, it did forge within him a steadfast opposition to totalitarianism and a personal bravery that would make him a model for artists of conscience. As early as 1922, Toscanini refused to allow his La Scala orchestra to play the Fascist anthem, "Giovinezza," even when threatened by Mussolini’s goons. And when tens of thousands of desperate Jewish refugees poured into Palestine in the late 1930s, he journeyed there at his own expense to establish an orchestra comprised of refugee musicians, and his travels were followed like that of a king. Thanks to unprecedented access to family archives, Toscanini becomes not only the definitive biography of the conductor, but a work that soars in its exploration of musical genius and moral conscience, taking its place among the great musical biographies of our time.
Are you tired of your Python code turning out wrong? Are you forever finding it difficult to read your code, to spot where the problems are because it is, quite frankly, a mess? Are you fed up with reading so-called Best Practice guides that leave you more confused than you were when you started? This book “Python: Best Practices to Programming Code with Python”, will give you a straightforward guide on how to write better Python code. With this book, you will learn : General Concepts of Python CodingPython Coding RecommendationsThe best way to layout Python CodeAll about idioms, or how to write codeHow to write commentsWriting Conventions to followHow to write Function and Method Arguments... And much, much more! Added Benefits of owning this book: Gain a better grasp of efficient and effective Python code to achieve programming successSpeed up your programming abilities by avoiding time-wasting mistakesGain the most important Best Practice concepts in your path towards Python programming mastery! By reading my Best Practice guide for Python coding, you will learn the best way to write better code, code that is readable and that others can understand. The value of this is self-evident in that, when you do write a program based on Python code, it will run smoothly and with no errors. That is what programming success is all about.
In this “dishy…superbly reported” (Entertainment Weekly) New York Times bestseller, Peter Biskind chronicles the rise of independent filmmakers who reinvented Hollywood—most notably Sundance founder Robert Redford and Harvey Weinstein, who with his brother, Bob, made Miramax Films an indie powerhouse. As he did in his acclaimed Easy Riders, Raging Bulls, Peter Biskind “takes on the movie industry of the 1990s and again gets the story” (The New York Times). Biskind charts in fascinating detail the meteoric rise of the controversial Harvey Weinstein, often described as the last mogul, who created an Oscar factory that became the envy of the studios, while leaving a trail of carnage in his wake. He follows Sundance as it grew from a regional film festival to the premier showcase of independent film, succeeding almost despite the mercurial Redford, whose visionary plans were nearly thwarted by his own quixotic personality. Likewise, the directors who emerged from the independent movement, such as Quentin Tarantino, Steven Soderbergh, and David O. Russell, are now among the best-known directors in Hollywood. Not to mention the actors who emerged with them, like Matt Damon, Ben Affleck, Ethan Hawke, and Uma Thurman. Candid, controversial, and “sensationally entertaining” (Los Angeles Times) Down and Dirty Pictures is a must-read for anyone interested in the film world.
What does music have to say about modernity? How can this apparently unworldly art tell us anything about modern life? In Out of Time, author Julian Johnson begins from the idea that it can, arguing that music renders an account of modernity from the inside, a history not of events but of sensibility, an archaeology of experience. If music is better understood from this broad perspective, our idea of modernity itself is also enriched by the specific insights of music. The result is a rehearing of modernity and a rethinking of music - an account that challenges ideas of linear progress and reconsiders the common concerns of music, old and new. If all music since 1600 is modern music, the similarities between Monteverdi and Schoenberg, Bach and Stravinsky, or Beethoven and Boulez, become far more significant than their obvious differences. Johnson elaborates this idea in relation to three related areas of experience - temporality, history and memory; space, place and technology; language, the body, and sound. Criss-crossing four centuries of Western culture, he moves between close readings of diverse musical examples (from the madrigal to electronic music) and drawing on the history of science and technology, literature, art, philosophy, and geography. Against the grain of chronology and the usual divisions of music history, Johnson proposes profound connections between musical works from quite different times and places. The multiple lines of the resulting map, similar to those of the London Underground, produce a bewildering network of plural connections, joining Stockhausen to Galileo, music printing to sound recording, the industrial revolution to motivic development, steam trains to waltzes. A significant and groundbreaking work, Out of Time is essential reading for anyone interested in the history of music and modernity.