representations of the body in middle english biblical drama combines epistemological enquiry, gender theory and foucauldian concepts to investigate the body as a useful site for studying power, knowledge and truth. intertwining the conceptualizations of violence and the performativity of gender identity and roles, estella ciobanu argues that studying violence in drama affords insights into the cultural and social aspects of the later middle ages. the text investigates these biblical plays through the perspective of the devil and offers a unique lens that exposes medieval disquiets about christian teachings and the discourse of power. through detailed primary source analysis and multidisciplinary scholarship, ciobanu constructs a text that interrogates the significance of performance far beyond the stage.

in 2007, little mosque on the prairie premiered on the canadian broadcasting corporation network. it told the story of a mosque community that worshiped in the basement of an anglican church. it was a bona fide hit, running for six seasons and playing on networks all over the world.

kyle conway's textual analysis and in-depth research, including interviews from the show's creator, executive producers, writers, and cbc executives, reveals the many ways muslims have and have not been integrated into north american television. despite a desire to showcase the diversity of muslims in canada, the makers of little mosque had to erase visible signs of difference in order to reach a broad audience. this paradox of 'saleable diversity' challenges conventional ideas about the ways in which sitcoms integrate minorities into the mainstream.

this is a book of insight and imagination. it is a literary tour de force, where 28 irish plays are examined and their rich cultural context exposed in a way that educates and excites. to read anne o'reilly's analysis leaves one longing to return to theatre and to play. while the text is utterly readable, the ideas shared are profound.

the theme 'journey' is common in every play but it is explored from different angles; we glimpse understandings of the journey in search of soul, of self, of healing, of sacred meaning, of the possible, even of transformation.　

one of the captivating aspects of this book is that, while it's about plays and their stories, it also challenges the reader to rethink and re-imagine his/her own story. it is indeed a literary work of art. -ann louise gilligan

propuestas para (re)construir una naci n explores how emilia pardo baz n (1851-1921) imagines and engenders the spanish nation in her theatrical production staged and/or published between 1898 and 1909. in the aftermath of spain's colonial losses, when spain's male authors, in a growing mood of collective introspection, directed their attention to the homeland, pardo baz n generated a series of theatrical proposals to revitalize the nation. in her plays, she manifests her ideas about spain's fin de si cle crisis, reflects on spain's place in the international arena (emphasizing the nation's civilizing mission), critiques the intoxicating power of the so-called golden legend (spain's glorious past), and sees the origin of the nation's hardship in the lack of education of its inhabitants and in the inequality between men and women.

pardo baz n's vision of spain is forward looking, and she imagines a future in which new social configurations will be possible. instead of locating her plays in an ancestral castile, she situates several of her works in her native galicia. for the author, spain's regional issues are inseparable from the country's national issues and these can all be traced back to the woman question. the playwright appeals to the spectators/readers' reason and emotions in order to let them think and feel that the problems the nation faces can all be attributed to the spanish men. for pardo baz n, spain's potential for national regeneration resides in the inner strength of women.

in cross-fire with the main male players in the literary field of her time, pardo baz n offers her critique of national decadence in plays that cleverly subvert a broad range of by then outdated theatrical conventions, and that introduce the public to new currents of theatrical innovation (ibsen, maeterlinck, d'annunzio).

propuestas offers a new perspective on the participation of female authors in the contentious debate about the spanish nation. pardo baz n's theater is an overlooked area in the author's extensive creative production, and propuestas challenges the so often repeated topic of the backwardness of the spanish stage and the alleged lack of innovation during the fin de si cle.

propuestas para (re)construir una naci n explora c mo emilia pardo baz n (1851-1921) imagina y engendra la naci n espa ola en su producci n teatral finisecular que vio la luz entre 1898 y 1909. a la zaga de la debacle de 1898, cuando la introspecci n colectiva dirige la mirada de los autores hacia la patria, pardo baz n genera una serie de propuestas teatrales para revitalizar la naci n. en sus obras, expone sus ideas sobre la crisis finisecular, reflexiona sobre el lugar de espa a en la arena internacional (enfatizando su misi n civilizadora), critica el poder embriagador de lo que llama la leyenda dorada (el glorioso pasado espa ol) y ve la causa de los males de la patria en la falta de educaci n de sus habitantes y en la desigualdad entre hombres y mujeres.

en vez de enfocarse en el ayer, pardo se imagina un futuro en el que nuevas configuraciones sociales sean posibles. en lugar de ubicar sus obras en una castilla ancestral, sit a varias de sus piezas teatrales en su galicia natal. para la autora los problemas regionales son inseparables de los nacionales y los problemas nacionales son inseparables de la cuesti n de la mujer. la dramaturga apela tanto al raciocinio como a las emociones de sus espectadores/lectores para hacerles pensar y sentir que son los hombres los que constituyen el problema nacional. para pardo baz n la clave de la regeneraci n de espa a se encuentra en la mujer.

en fuego cruzado con los jugadores m's importantes del campo de producci n cultural de su tiempo, pardo baz n ofrece su cr tica de la decadencia nacional en unas obras que reciclan una serie heterog nea de materiales por aquel entonces anticuados que la autora combina de manera inteligente con formas inesperadas que introducen al p blico a nuevas corrientes de innovaci n teatral (ibsen, maeterlinck, d'annunzio).

propuestas ofrece una nueva perspectiva de la participaci n de las autoras femeninas en el contencioso debate sobre la naci n espa ola. dentro de la extensa producci n creadora de la autora, su teatro es un terreno frecuentemente pasado por alto y propuestas desaf a el tan trillado t pico del retraso de la escena espa ola y la supuesta falta de innovaci n durante el fin de siglo.

free-roaming killer drones stalk the battlespace looking for organic targets. human combatants are programmed to feel no pain. highpower microwave beams detonate munitions, jam communications, and cook internal organs.

is this vision of future war possible, or even inevitable? in this timely new book, everett carl dolman examines the relationship between science and war. historically, science has played an important role in ending wars - think of the part played by tanks in breaching trench warfare in the first world war, or atom bombs in hastening the japanese surrender in the second world war - but to date this has only increased the danger and destructiveness of future conflicts. could science ever create the con-ditions of a permanent peace, either by making wars impossible to win, or so horrific that no one would ever fight? ultimately, dolman argues that science cannot, on its own, end war without also ending what it means to be human.

in the last half-century ludwig wittgenstein's relevance beyond analytic philosophy, to continental philosophy, to cultural studies, and to the arts has been widely acknowledged.

wittgenstein's tractatus logico-philosophicus was published in 1922 - the annus mirabilis of modernism - alongside joyce's ulysses, eliot's the waste land, mansfield's the garden party and woolf's jacob's room. bertolt brecht's first play to be produced, drums in the night, was first staged in 1922, as was jean cocteau's antigone, with settings by pablo picasso and music by arthur honegger. in different ways, all these modernist landmarks dealt with the crisis of representation and the demise of eternal metaphysical and ethical truths. wittgenstein's tractatus can be read as defining, expressing and reacting to this crisis. in his later philosophy, wittgenstein adopted a novel philosophical attitude, sensitive to the ordinary uses of language as well as to the unnoticed dogmas they may betray. if the gist of modernism is self-reflection and attention to the way form expresses content, then wittgenstein's later ideas - in their fragmented form as well as their "ear-opening" contents - deliver it most precisely.

understanding wittgenstein, understanding modernism shows wittgenstein's work, both early and late, to be closely linked to the modernist geist that prevailed during his lifetime. yet it would be wrong to argue that wittgenstein was a modernist tout court. for wittgenstein, as well as for modernist art, understanding is not gained by such straightforward statements. it needs time, hesitation, a variety of articulations, the refusal of tempting solutions, and perhaps even a sense of defeat. it is such a vision of the linkage between wittgenstein and modernism that guides the present volume.

in the nineteenth century, the french lyric poets imposed their diction on the theatrical genre and thus illuminated the essence of both poetry and theatre. ten plays by victor hugo, the standard-bearer of the french romantic theatre, and alfred de musset, the romantic playwright most frequently performed in france today, are analyzed by charles affron to answer the question, "can the dialetic form of the theatre accommodate the solitary elan of the lyric poet?"

as a functional point of departure, he considers those characteristics of lyric poetry--time, voice, and metaphor--which bring us closest to the singular attitudes of hugo and musset. then, examining the texts of hernani, les burgraves, torquemada, fantasio, and lorenzaccio as well as several lesser known plays, mr. affron discusses such topics as poetic time, the scope of analogy, theatrical and poetic rhetoric, the guises of the poet-hero, and the manner of sounding the poet's voice upon the stage.

originally published in 1971.

the princeton legacy library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of princeton university press. these editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. the goal of the princeton legacy library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by princeton university press since its founding in 1905.

in this fascinating reappraisal of the non-literary drama of the late 19th - early 20th century, christopher fitz-simon discloses a unique world of plays, players and producers in metropolitan theatres in ireland and other countries where ireland was viewed as a source of extraordinary topics at once contemporary and comfortably remote: revolution, eviction, famine, agrarian agitation, political assassination.

the form was the fashionable one of melodrama, yet irish melodrama was of a particular kind replete with hidden messages, and the language was far more allusive, colourful and entertaining than that of its english equivalent. there was much diversity, as shown in plays as different as murray & shine's an irish gentleman, hubert o'grady's the priest hunter, j.w.whitbread's the victoria cross and edward selden's mckenna's flirtation.