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Pour saisir dans leur déroulement les tendances et les mutations qu'ont connues les arts du spectacle en France depuis la Renaissance, l'auteur étudie leur production en relation avec l'environnement global. Ceci le conduit à découper l'analyse autour de cinq grands thèmes : création et types de société, développement de la technologie des spectacles, historique de la politique artistique du pouvoir, évolution des publics, enfin systèmes de production des spectacles. Ainsi, " un travail de synthèse nous est présenté sans que jamais le caractère pluridisciplinaire de la méthode porte atteinte à l'économicité de la recherche. Tout au long de l'ouvrage, l'économiste interroge les disciplines ayant même domaine que celui qu'il a choisi, mais non pas même intérêt thématique, évite les simples juxtapositions d'apports ou les corrections sans conséquences des hypothèses et des raisonnements, nourrit son effort des réponses d'autrui, et poursuit son œuvre selon sa logique propre " (Henri Bartoli). Ce qui ressort d'abord de cette étude empirique et historique est l'interaction complexe et continue de forces et de structures productrices du fait artistique concret. On peut aussi constater un synchronisme entre les phases de la conjoncture économique globale et celles que connaît la production de spectacles, ce qui tend à montrer une relative détermination de la production esthétique par les structures économiques.
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A comprehensive new OPERA STUDY GUIDE AND LIBRETTO for Donizetti's The Elixir of Love (L'Elisir d'Amore), featuring Principal Characters in the Opera; Brief Story Synopsis; Story Narrative with Music Highlight Examples; a newly translated LIBRETTO with Italian and English translation side-by-side, with Music Highlight Examples; and Burton D. Fisher's in depth and insightful Commentary and Analysis.
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A comprehensive new OPERA STUDY of Verdi¿s SIMON BOCCANEGRA, featuring Principal Characters in the Opera; Brief Story Synopsis; Story Narrative with Music Highlight Examples; Burton D. Fisher's in depth and insightful Commentary and Analysis; and a new LIBRETTO with Italian and English translation side-by-side.
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A comprehensive new OPERA STUDY GUIDE AND LIBRETTO for Bellini's NORMA, featuring Principal Characters in the Opera; Brief Story Synopsis; Story Narrative with Music Highlight Examples; a newly translated LIBRETTO with Italian and English translation side-by-side, with Music Highlight Examples; and Burton D. Fisher's in depth and insightful Commentary and Analysis.
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A comprehensive new OPERA STUDY GUIDE for Donizetti's ROBERTO DEVEREAUX, featuring Principal Characters in the Opera; Brief Story Synopsis; Story Narrative with Music Highlight Examples; and Burton D. Fisher's in depth and insightful Commentary and Analysis.
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A comprehensive new OPERA STUDY GUIDE of Rossini's WILLIAM TELL, featuring Principal Characters in the Opera; Brief Story Synopsis; Story Narrative with Music Highlight Examples; and Burton D. Fisher's in depth and insightful Commentary and Analysis.
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A comprehensive new VERDI COMPANION, featuring Story Narratives with Music Highlight Examples for each of Verdi's 27 operas.
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Artists, writers, and filmmakers Andy Warhol and J.G. Ballard to Alejandro González Iñárritu and Ousmane Sembène have repeatedly used representations of immobilized and crashed cars to wrestle with the conundrums of modernity. In Crash, Karen Beckman argues that representations of the crash parallel the encounter of film with other media, and that these collisions between media offer useful ways to think about alterity, politics, and desire. Examining the significance of automobile collisions in film genres including the?cinema of attractions,? slapstick comedies, and industrial-safety movies, Beckman reveals how the car crash gives visual form to fantasies and anxieties regarding speed and stasis, risk and safety, immunity and contamination, and impermeability and penetration. Her reflections on the crash as the traumatic, uncertain moment of inertia that comes in the wake of speed and confidence challenge the tendency in cinema studies to privilege movement above film?s other qualities. Ultimately, Beckman suggests that film studies is a hybrid field that cannot apprehend its object of study without acknowledging the ways that cinema?s technology binds it to capitalism?s industrial systems and other media, technologies, and disciplines.
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In his foreword to World Report on Violence and Health, published by the World Health Organization (WHO) in 2002, Nelson Mandela states that "the twentieth century will be remembered as a century marked by violence". Now we are nearly at the end of the first quarter of the twenty-first century, but violence still permeates in our lives at various levels. Various forms of violence occurring at levels of interpersonal, self-directed, collective, state, warfare, child and youth violence, intimate partner violence, environmental violence, and animal violence lay bare the complexity and pervasiveness of the phenomenon, yet it also brings along the necessity to discuss violence from multiple perspectives. Nelson Mandela Dünya Sağlık Örgütü'nün 2002 yılında yayınladığı Şiddet ve Sağlık Hakkında Dünya Raporu'nun önsözünde "yirminci yüzyılın şiddetle mimlenen bir yüzyıl olarak hatırlanacağını" söyler. Bizler, neredeyse yirmi birinci yüzyılın ilk çeyreğinin sonlarını yaşamaktayız, ancak şiddet hayatımıza hala çeşitli düzeylerde nüfuz ediyor. Kişilerarası, öze yöneltilen, kolektif, devlet, savaş, çocuk ve genç şiddeti, yakın eş şiddeti, çevresel şiddet ve hayvan şiddeti gibi çeşitli düzlemlerde vuku bulan şiddet biçimleri olgunun karmaşıklığını ve yaygınlığını açıkça ortaya koymakla beraber şiddet kavramının farklı açılardan tartışılması gerekliliğini de ortaya koymaktadır.