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Ben Myers play "Walking with Shadows" is one of several plays he wrote whilst at the renowned Watermill Theatre in Newbury, Berkshire. His work has appeared on the WJEC GCSE drama curriculum in the UK, and been widely studied in schools for several years. He has worked as a creative education consultant for National Drama and the Arts Council, delivering workshops to Drama and English teachers. He is also a published childrens author, pioneering creative practice in primary education for the involvement of children in the creation of a novel, discussing this on Radio 4. He moved from theatre to film in 2005 when he adapted "Walking with Shadows" into a feature length film starring Leslie Phillips, assuming the roles of Director and Executive Producer. He was a guest lecturer and Artist in Residence at the Midnite International Dramatic Arts Festival in Perth, Western Australia, and has regularly appeared in the media discussing his various creative and educational projects. He is an award winning independent filmmaker as writer/director of "Nuryan", which won the best horror/sci fi category at the London Independent Film festival (LIFF)
Trez "Latimer" doesn't really exist. And not just because the identity was created so that a Shadow could function in the underbelly of the human world. Sold by his parents to the Queen of the S'Hsibe as a child, Trez escaped the Territory and has been a pimp and an enforcer in Caldwell, NY for years -- all the while on the run from a destiny of sexual servitude. He's never had anyone he could totally rely on... except for his brother, iAm. iAm's sole goal has always been to keep his brother from self-destructing -- and he knows he's failed. It's not until the Chosen Serena enters Trez's life that the male begins to turn things around... but by then it's too late. The pledge to mate the Queen's daughter comes due and there is nowhere to run, nowhere to hide, and no negotiating. Trapped between his heart and a fate he never volunteered for, Trez must decide whether to endanger himself and others -- or forever leave behind the female he's in love with. But then an unimaginable tragedy strikes and changes everything. Staring out over an emotional abyss, Trez must find a reason to go on or risk losing himself and his soul forever. And iAm, in the name of brotherly love, is faced with making the ultimate sacrifice.
Since the early 1970s women across South America have been uniting to confont the brutality and repression of military rule. In Out of the Shadows, author Jo Fisher interviews women in Argentina, Chile, Uruguay and Paraguay to show how they have moved into the vacuum left by the military's destruction of the male-dominated left. Chapters describe how women have organised - in communal kitchens in Chile's shantytowns, as trade unionists in Uruguay, peace activists in Paraguay, mothers of the disappeared and self-help groups in Argentina, as grassroots feminists in Chile - ending the isolation of home life. While built around the traditional female concerns such as providing food and care for their families, the new women's movements have developed a grassroots feminism that is strikingly different from the middle class feminism of the city centres and have had a seismic impact on gender consciousness throughout the region.
Don't miss Shadows, Dawson Black’s story in Jennifer L. Armentrout's bestselling Lux series, now available as a standalone in print for the first time! "An unmissable series!" –Samantha Young, New York Times bestselling author of On Dublin Street “This is the stuff swoons are made of.” —Wendy Higgins, New York Times bestselling author of Sweet Evil The last thing Dawson Black expected was Bethany Williams. As a Luxen, an alien life-form on Earth, human girls are...well, fun. But since the Luxen have to keep their true identities a secret, falling for one would be insane. Dangerous. Tempting. Undeniable. Bethany can't deny the immediate connection between her and Dawson. And even though boys aren't a complication she wants, she can't stay away from him. Still, whenever they lock eyes, she's drawn in. Captivated. Lured. Loved. Dawson is keeping a secret that will change her existence...and put her life in jeopardy. But even he can't stop risking everything for one human girl. Or from a fate that is as unavoidable as love itself. Want to read the LUX series on your ereader? Each book is sold individually in e-format: #1: Obsidian #2: Onyx #3: Opal #4: Origin #5: Opposition Dawson’s story: Shadows
Ethnomusicological fieldwork has significantly changed since the end of the the 20th century. Ethnomusicology is in a critical moment that requires new perspecitves on fieldwork - perspectives that are not addressed in the standard guides to ethnomusicological or anthropological method. The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experience, knowing, and doing fieldwork. Shadows in the Field deliberately shifts the focus of ethnomusicology and of ethnography in general from representation (text) to experience (fieldwork). The "new fieldwork" moves beyond mere data collection and has become a defining characteristic of ethnomusicology that engages the scholar in meaningful human contexts. In this new edition of Shadows in the Field, renowned ethnomusicologists explore the roles they themselves act out while performing fieldwork and pose significant questions for the field: What are the new directions in ethnomusicological fieldwork? Where does fieldwork of "the past" fit into these theories? And above all, what do we see when we acknowledge the shadows we cast in the field? The second edition of Shadows in the Field includes updates of all existing chapters, a new preface by Bruno Nettl, and seven new chapters addressing critical issues and concerns that have become increasingly relevant since the first edition.
" ... selected not only African oral and written stories but also tales from around the world ..."--Pref., p. 11.
In the third and final volume in the suspense trilogy, Sheriff Miranda Knight is reunited with FBI profiler Noah Bishop when her small town of Gladstone, Tennessee, is torn apart by the kidnapping, torture, and murder of several teenagers, and Miranda is forced to use her unique talents to find a killer before it is too late. Original.
Under FBI protection, Sara Welsh is falling in love with a former pro football player, Adam Black, and soon they are both caught in a chain of events that brings Sara face to face with terror that has stalked her since childhood.
Both on the continent and off, “Africa” is spoken of in terms of crisis: as a place of failure and seemingly insurmountable problems, as a moral challenge to the international community. What, though, is really at stake in discussions about Africa, its problems, and its place in the world? And what should be the response of those scholars who have sought to understand not the “Africa” portrayed in broad strokes in journalistic accounts and policy papers but rather specific places and social realities within Africa? In Global Shadows the renowned anthropologist James Ferguson moves beyond the traditional anthropological focus on local communities to explore more general questions about Africa and its place in the contemporary world. Ferguson develops his argument through a series of provocative essays which open—as he shows they must—into interrogations of globalization, modernity, worldwide inequality, and social justice. He maintains that Africans in a variety of social and geographical locations increasingly seek to make claims of membership within a global community, claims that contest the marginalization that has so far been the principal fruit of “globalization” for Africa. Ferguson contends that such claims demand new understandings of the global, centered less on transnational flows and images of unfettered connection than on the social relations that selectively constitute global society and on the rights and obligations that characterize it. Ferguson points out that anthropologists and others who have refused the category of Africa as empirically problematic have, in their devotion to particularity, allowed themselves to remain bystanders in the broader conversations about Africa. In Global Shadows, he urges fellow scholars into the arena, encouraging them to find a way to speak beyond the academy about Africa’s position within an egregiously imbalanced world order.
This book is the first to analyze the environmental impact of Japanese trade,corporations, and aid on timber management in the context of Southeast Asian political economies. Itis also one of the first comprehensive studies of why Southeast Asian states are unable to enforceforest policies and regulations.
Noël Burch's singularly perceptive view of film and its origins will interest all who care about film theory and history. Life to Those Shadows presents a critique of "classical" approaches to film: the assumptions that what we call the language of film was a natural, organic development, and that it lay latent from the outset in the basic technology of the camera, waiting for the prescient pioneers to bring it into being. The view that film language was a universal, neutral medium, innocent of any social or historical meaning in itself, is also challenged here. Burch's major thesis is that, on the contrary, film language has a social and economic history, that it evolved in the way it did because of when and where it was constructed—in the capitalist and imperialist West between 1892 and 1929. From this perspective, the book examines the emergence of what it defines as cinema's Institutional Mode of Representation and the sociohistorical circumstances in which it took place. Central to the Institutional Mode are the principles of visualization—camera placement and movement, lighting, editing, mise-en-scène—that filmmakers and audiences came to internalize over the first three decades. Special emphasis is laid on the all-important change that occurred in the placing of the spectator, from a position of exteriority to the film image—implicit in both film-form and viewing conditions during the primitive era (pre-1909)—to the imaginary centering of the spectator-subject—completed only with the generalization of lip-synch sound after 1929. Burch contends that this imaginary centering of a sensorially isolated spectator is the keystone of the cinematic illusion of reality, still achieved today by the same means as it was sixty years ago.
Focusing on African diaspora groups that have been virtually ignored in discussions of Canadian multiculturalism, the authors explore the re-creation of communities in exile and the myths of 'homeland' and 'return.'
Most contemporary metaphysicians are sceptical about the reality of familiar objects such as dogs and trees, people and desks, cells and stars. They prefer an ontology of the spatially tiny or temporally tiny. Tiny microparticles 'dog-wise arranged' explain the appearance, they say, that there are dogs; microparticles obeying microphysics collectively cause anything that a baseball appears to cause; temporal stages collectively sustain the illusion of enduring objects that persist across changes. Crawford L. Elder argues that all such attempts to 'explain away' familiar objects project downwards, onto the tiny entities, structures and features of familiar objects themselves. He contends that sceptical metaphysicians are thus employing shadows of familiar objects, while denying that the entities which cast those shadows really exist. He argues that the shadows are indeed really there, because their sources - familiar objects - are mind-independently real.
An encroaching evil threatens to overshadow the lives of every witch, woman, and Fae in the realm, and only three Fae--Aiden the bard, Lyrra the Muse, and the Gatherer of Souls--can prevent the growing madness from engulfing the entire land.
Shadows are holes in light. We see them all the time, and sometimes we notice them, but their part in our visual experience of the world is mysterious. In this book, an art historian draws on contemporary cognitive science, eighteenth-century theories of visual perception, and art history to discuss shadows and the visual knowledge they can offer.
In this original, wide-ranging, and endlessly thought-provoking work of popular nonfiction, a leading science writer uncovers the pervasive presence of shadows in our world. For Plato, shadows were the symbol of our limitations. For Galileo, they knocked the Earth from the center of the cosmos. They are a source of fear and a symbol of ignorance, and they loom large in art and design, mythology and folklore, physics and metaphysics, and architecture and urban planning. From shadows puppets and the psychology of shadows to the role of shadows in astronomy and the influence of shadows on the architectural profiles of our cities, Roberto Casati awakens our fascination in this tour-de-force of investigation and imagination. From the Trade Paperback edition.
Women in the Shadows discusses the biographies of five brilliant and talented women born in the Austro-Hungarian Empire: Mileva Einstein-Maric, Margarete Jeanne Trakl, Lise Meitner, Milena Jesenská, and Margarete Schütte-Lihotzky. Charles S. Chiu creates «a narrative against forgetting, as a small step out of darkness» by writing about these women's accomplishments, which were overshadowed by those of the famous men in their lives. Edith Borchardt's translation brings this narrative to a wider audience. Women in the Shadows will interest scientists and scholars in the humanities as well as the general reader. The women portrayed represent various fields - mathematics, physics, music and literature, journalism, and architecture - making Women in the Shadows suitable for courses on the history of science, German and Austrian studies, as well as women's studies.
Shadows of Power examines public policy and in particular, the communicative processes of policy and decision-making. It explore the important who, how and why issues of policy decisions. Who really takes the decisions? How are they arrived at and why were such processes used? What relations of power may be revealed between the various participants? Using stories from planning practices, this book shows that local planning decisions, particularly those which involve consideration of issues of 'public space' cannot be understood separately from the socially constructed, subjective territorial identities, meanings and values of the local people and the planners concerned. Nor can it be fully represented as a linear planning process concentrating on traditional planning policy-making and decision-making ideas of survey analysis-plan or officer recommendation-council decision-implementation. Such notions assume that policy-and decision-making proceed in a relatively technocratic and value neutral, unidirectional, step-wise process towards a finite end point. In this book Jean Hiller explores ways in which different values and mind-sets may affect planning outcomes and relate to systemic power structures. By unpacking these and bring them together as influences on participants' communication, she reveals influences at work in decision-making processes that were previously invisible. If planning theory is to be of real use to practitioners, it needs to address practice as it is actually encountered in the worlds of planning officers and elected representatives. Hillier shed light on the shadows so that practitioners may be better able to understand the circumstances in which they find themselves and act more effectively in what is in reality a messy, highly politicised decision-making process.