Contemporary study of language and cognition in infancy and early childhood has received considerable, well deserved attention. However, little effort has been directed to the means by which language becomes a cognitive and communicative tool, as well as what the full implications of this development may be. This book highlights a transition from the study of language and cognition to that of language in cognition. It presents an integrative theory of cognitive development, emphasizing the important role that language plays in taking the two to five year old child to new levels of cognitive operations in memory, forming concepts, categories, processing narratives, and understanding other people's intentions. Biological evolution is considered the source of both language and culture but it is argued that qualitatively different modes of thinking and knowing emerge therefrom.
A Touch of the Poet and More Stately Mansions are regarded as two of Eugene O'Neill's finest plays. Companion pieces, linked by characters and themes, they form part of a projected series of eleven in
Candrakīrti's Introduction to the Middle Way (Madhyamakāvatāra) is a central work of Buddhist philosophy for two reasons. First, it provides an introduction to Madhyamaka, one of the three major philosophical schools of Buddhist thought (the other two being Abhidharma and Yogācāra). Second, within Madhyamaka, Candrakīrti's text occupies a very prominent role. This is primarily due to its enormous influence in Tibet, where Candrakīrti's work became the main entry-point into the study of Madhyamaka thought. While the historical importance of the Introduction to the Middle Way for understanding a major section of Buddhist thought is evident, what makes it particularly interesting for students is the role it plays as an 'introduction'. It is one of Candrakīrti's earlier works and presents a comprehensive guide to the key philosophical ideas and problems of Madhyamaka thought. This Oxford Guide is for the philosophically interested student or scholar
Receiving two dollars to spend while at a tag sale with her mother, Pinkalicious has a difficult time deciding what to buy before stumbling upon a beautiful music box that plays her mother's favorite
Receiving two dollars to spend while at a tag sale with her mother, Pinkalicious has a difficult time deciding what to buy before stumbling upon a beautiful music box that plays her mother's favorite
Paul A. Cantor first probed Shakespeare’s Roman plays—Coriolanus, Julius Caeser, and Antony and Cleopatra—in his landmark Shakespeare’s Rome (1976). With Shakespeare’s Roman Trilogy, he now argues that these plays form an integrated trilogy that portrays the tragedy not simply of their protagonists but of an entire political community.Cantor analyzes the way Shakespeare chronicles the rise and fall of the Roman Republic and the emergence of the Roman Empire. The transformation of the ancient city into a cosmopolitan empire marks the end of the era of civic virtue in antiquity, but it also opens up new spiritual possibilities that Shakespeare correlates with the rise of Christianity and thus the first stirrings of the medieval and the modern worlds.More broadly, Cantor places Shakespeare’s plays in a long tradition of philosophical speculation about Rome, with special emphasis on Machiavelli and Nietzsche, two thinkers who provide important clues on how to read Shakespeare’s works. In a
Vengeance permeates English Renaissance drama - for example, it crops up in all but two of Shakespeare's plays. This book explores why a supposedly forgiving Christian culture should have relished such bloodthirsty, vengeful plays. A clue lies in the plays' passion for fairness, a preoccupation suggesting widespread resentment of systemic unfairness - legal, economic, political and social. Revengers' precise equivalents - the father of two beheaded sons obliges his enemy to eat her two sons' heads - are vigilante versions of Elizabethan law, where penalties suit the crimes: thieves' hands were cut off, scolds' tongues bridled. The revengers' language of 'paying' hints at the operation of revenge in the service of economic redress. Revenge makes contact with resistance theory, justifying overthrow of tyrants, and some revengers challenge the fundamental inequity of social class. Woodbridge demonstrates how, for all their sensationalism, their macabre comedy and outlandish gore, Renaissa
Covering a wide variety of plays from 1550–1600, including Shakespeare's second tetralogy, this book explores moral, historical, and comic plays as contributions to Elizabethan debates on Anglo-foreign relations in England. The economic, social, religious, and political issues that arose from inter-British contact and Continental immigration into England are reinvented and rehearsed on the public stage. Kermode uncovers two broad 'alien stages' in the drama: distinctive but overlapping processes by which the alien was used to posit ideas and ideals of Englishness. Many studies of English national identity pit Englishness against the alien 'other' so that the native self and the alien settle into antithetical positions. In contrast, Aliens and Englishness reads a body of plays that represent Englishness as a state of ideological, invented superiority - paradoxically stable in its constant changeability, and brought into being by incorporating and eventually accepting, and even celebrati
The two plays presented in full in this volume – Wycherley's The Country Wife and Congreve's The Way of the World – illustrate the evolution of Restoration comedy between 1675 and 1700.Includes full t
The two plays presented in full in this volume – Wycherley's The Country Wife and Congreve's The Way of the World – illustrate the evolution of Restoration comedy between 1675 and 1700.Includes full t
'To portray the Holocaust, one has to create a work of art', says Claude Lanzmann, the director of Shoah. However, can the Holocaust be turned into theatre? Is it possible to portray on stage events that, by their monstrosity, defy human comprehension? These are the questions addressed by the playwrights and the scholars featured in this book. Their essays present and analyse plays performed in Israel, America, France, Italy, Poland and, of course, Germany. The style of presentation ranges from docudramas to avant-garde performances, from realistic impersonation of historical figures to provocative and nightmarish spectacles. The book is illustrated with original production photographs and some rare drawings and documents; it also contains an important descriptive bibliography of more than two hundred Holocaust plays.
This study is entirely devoted to African literary drama in French, a major component of African theatre. Beginning with a detailed analysis of its relationship to a variety of pre-colonial, but sometimes still contemporary traditions of performance which constitute part of its roots, Conteh-Morgan examines this drama both in its literary and theatrical dimensions. He discusses its development, themes and techniques and considers its attempts, since the 1980s, to move away from the predominantly text-based drama of first generation playwrights to a more performance-oriented one. The book is divided into two sections: part one offers a theoretical and historical background and part two analyses key individual plays central to the repertoire, including two from the Caribbean. All quotations from play texts are translated into English.
The myth of fire stolen from the gods appears in many pre-industrial societies. In Greek culture Prometheus the fire-stealer figures prominently in the poems of Hesiod, but in Prometheus Bound Hesiod's morality tale has been transformed into a drama of tragic tone and proportions. In the introduction, Mark Griffith examines how the dramatist has achieved this transformation, looking at the play from all angles - plot and characters, dramatic technique, style and metre. He includes a short section on the production of the play and on the questions of authenticity and date. The commentary guides the reader through problems of language, metre and content. An important feature of this volume is the appendix, which gathers together the existing fragments of the other two plays in the supposed Prometheus trilogy, quoting them in full in the original language and in translation, with short accompanying commentary. This is suitable for undergraduates and students in the upper forms of schools.
Originally published in 1969, this is a series of linked studies of the character, origins and history of the court-song of Renaissance Scotland, with substantial critical discussion on poets, musicians and court culture generally. Mrs Shire shows that the song repertory of Scotland in the sixteenth century is rewarding poetically and musically both in itself and for the part it plays in the Renaissance culture of Western Europe. The author focuses on two poets, Alexander Scott and Alexander Montgomerie and adds to the value of her work by her constant preoccupation with period and background. She sets herself to answer such questions as: who made the songs and how were they presented? Was the music more important than the words? Did the singers act or dance in performance? Were songs a central part of the life of the court? Her answers illuminate this previously unknown area of study.
The human brain contains billions of nerve cells whose activity plays a critical role in the way we behave, feel, perceive, and think. This two-volume set explains the basic properties of a neuron - an electrically active nerve cell - and develops mathematical theories for the way neurons respond to the various stimuli they receive. Volume 1 contains descriptions and analyses of the principal mathematical models that have been developed for neurons in the past thirty years. It provides a brief review of the basic neuroanatomical and neurophysiological facts that will form the focus of the mathematical treatment. Tuckwell discusses the mathematical theories, beginning with the theory of membrane potentials. He then goes on to treat the Lapicque model, linear cable theory, and time-dependent solutions of the cable equations. He concludes with a description of Rall's model nerve cell. Because the level of mathematics increases steadily upward from Chapter Two, some familiarity with differ
In this book, Jeanette Malkin considers a broad spectrum of post-war plays in which characters are created, coerced and destroyed by language. The playwrights examined include Handke, Pinter, Bond, Albee, Mamet and Shepard, as well as Vaclav Havel and two of his plays: The Garden Party and The Memorandum. These playwrights portray language's power within our political, social and interpersonal worlds. The violence that language does, the 'tyranny of words', grabs centre stage in their plays. Characters are manipulated and defined through language, their actions and identity limited by verbal options, in order to reveal the links between language and power. The book will be of interest to students and scholars of drama, theatre history, American and European literature, and comparative literature.
The Admiral's Men is the acting company that staged Christopher Marlowe's plays while its companion company was giving the first performances of Shakespeare. Unlike the Shakespeare company, there is plenty of evidence available telling us what the Admiral's company did and how it staged its plays. Not only do we know far more about the design of its two playhouses, the Rose and the Fortune, than we know of any other playhouse from the time, including the Globe, but we have Henslowe's Diary. This recorded everything the Admiral's company performed from 1594 to 1600 and after, what the company bought to stage its plays, who performed which parts, who wrote which plays and even how much they were paid. The first history to be written of the Admiral's Men, this book tells us not only a great deal about the company's own work, but also how the Shakespeare company operated.
Property (T) is a rigidity property for topological groups, first formulated by D. Kazhdan in the mid 1960's with the aim of demonstrating that a large class of lattices are finitely generated. Later developments have shown that Property (T) plays an important role in an amazingly large variety of subjects, including discrete subgroups of Lie groups, ergodic theory, random walks, operator algebras, combinatorics, and theoretical computer science. This monograph offers a comprehensive introduction to the theory. It describes the two most important points of view on Property (T): the first uses a unitary group representation approach, and the second a fixed point property for affine isometric actions. Via these the authors discuss a range of important examples and applications to several domains of mathematics. A detailed appendix provides a systematic exposition of parts of the theory of group representations that are used to formulate and develop Property (T).
Over the last two hundred years some important ways of understanding theatre history have been undervalued or ignored by scholars. Leading theatre historian Jacky Bratton employs new approaches to examine and challenge this development and to discover how theatre history has been chronicled and how it is interpreted. Using a series of case studies from nineteenth-century British theatre, Bratton examines the difference between the existence of 'the drama' (plays and play literature) and 'the stage' (performance, theatre building, and attendance). By rejecting literary history, Bratton experiments with other ways of analysing the past, and the ways that have actually seemed relevant to the people on stage. This book suggests new histories: of theatrical story-telling, of performing families, and of the disregarded dramatic energy of Victorian entertainment. As a result, we gain a new perspective on theatre history, not only for the Romantic and Victorian periods, but for the discipline
