6,695 research outputs found
Performance can be vital to emergency preparedness
No full textStuart Andrews and Patrick Duggan respond to the CRJ’s recent call for new and imaginative modes of thinking and practice in emergency preparedness and resilience planning. Having just published their first project report, they invite discussions about the role that the arts can play
Performing New Orleans: Rethinking Resilience in Art and Everyday Life
No full textPerforming New Orleans examines the value of arts and culture in managing complex urban challenges, offering new perspectives on how artistic and everyday performances can be pivotal modes of practicing resilience. Through an exploration of understudied forms of performance in New Orleans, Stuart Andrews and Patrick Duggan highlight the centrality of the city’s arts ecosystems as a vital aspect of its ability to “perform” resiliency.Performing New Orleans resists conventional definitions of arts practice; instead, it uses a diverse array of case studies to illustrate what arts practices are, what they do, and how they can enhance our understanding of people, place, and resilience. The case studies in this volume range from playing in the streets to painting murals; from tourist flourishes to the performative effect of infrastructure projects; from the design and leadership of arts centers to the unfolding of festivals, theater performances, art installations, and even public health messaging. The authors also review, critique, and rethink resilience theory and the often problematic idea of “being resilient.”Andrews and Duggan bring together ideas from art and architecture, cultural geography, hazard mitigation, resilience theory, sustainability, theater, and water management to explore “performances” of the city to radically expand our understanding of urban adaptability. Performing New Orleans argues that a truly resilient city is one that recognizes arts and culture professionals as crucial, critical innovators.<br/
George MacLeod’s open-air preaching: performance and counter-performance
No full textStuart Blythe uses the methodology of performance to analyse George MacLeod’s open-air preaching. He points out that MacLeod’s preaching was derived from a theology of the incarnation, and an understanding of the paradoxes and dichotomies of common human life. This preaching, Blythe suggests, was also a counter-performance in the context of outlooks and ideologies inimical to the gospel. The paper raises interesting issues related to preaching as performance, and the further question as to whether or not the life and work of the Church as a whole might now be better understood as a counter-performance.Publisher PD
Treasures of the University : an examination of the identification, presentation and responses to artefacts of significance at the University of St Andrews, from 1410 to the mid-19th century; with an additional consideration of the development of the portrait collection to the early 21st century
No full textSince its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent.
The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate Church of St Salvator, collegiate plate and relics of the Silver Arrow archery competition); church and college furnishings; artworks (particularly portraits); sculpture; and ethnographic specimens and other items described in University records as ‘curiosities’ held in the University Library from c. 1700-1838.
The identification of particular artefacts as significant for certain reasons in certain periods, and their presentation and display, may to some extent reflect the University's values, preoccupations and aspirations in these periods, and, to some degree, its identity. Consciously or subconsciously, the objects can be employed or operate as signifiers of meaning, representing or reflecting matters such as the status, authority and history of the University, its breadth of learning and its interest and influence in spheres from science, art and world cultures to national affairs.
This thesis provides a comprehensive examination of the growth and development of the University's holdings of 'artefacts of significance' from its foundation to the mid-19th century, and in some cases (especially portraits) beyond this date. It also offers insights into how the University viewed and presented these items and what this reveals about the University of St Andrews, its identity, which changed and developed as the living institution evolved, and the impressions that it wished to project
St Andrews University Library in the eighteenth century : Scottish education and print-culture
No full textThe context of this thesis is the growth in size and significance of the St Andrews University Library, made possible by the University's entitlement, under the Copyright Acts between 1709 and 1836, to free copies of new publications. Chapter I shows how the University used its improving Library to present to clients and visitors an image of the University's social and intellectual ideology. Both medium and message in this case told of a migration into the printed book of the University's functions, intellectual, spiritual, and moral, a migration which was going forward likewise in the other Scottish universities and in Scottish culture at large. Chapters II and III chart that migration respectively in religious discourse and in moral education. This growing importance of the book prompted some Scottish professors to devise agencies other than consumer demand to control what was read in their universities and beyond, and indeed what was printed. Chapter IV reviews those devices, one of which was the subject Rhetoric, now being reformed to bring modern literature into its discipline. Chapter V argues that the new Rhetoric tended in fact to confirm the hegemony of print by turning literary study from a general literary apprenticeship into the specialist reading of canonical printed texts. That tendency was not without opposition. Chapter VI analyses the challenge from traditional oral culture as it was expressed in the marginalia added to the Library books at St Andrews University by its students, and argues that this dissident culture helped to form the voice of the poet Robert Fergusson while he was one of those students. Chapter VII goes on to show how Fergusson used that voice to warn his countrymen of the threat which print represented to their culture, and to show how it might be resisted in the interests of both literature and conviviality
On-line film distribution : Its history and global complexion
No full text‘Nobody knows anything’, said William Goldman of studio filmmaking. The rule is ever more apt as we survey the radical changes that digital distribution, along with the digitisation of production and exhibition, is wreaking on global film circulation. Digital Disruption: Cinema Moves On-line helps to make sense of what has happened in the short but turbulent history of on-line distribution. It provides a realistic assessment of the genuine and not-so-promising methods that have been tried to address the disruptions that moving from ‘analogue dollars’ to ‘digital cents’ has provoked in the film industry. Paying close attention to how the Majors have dealt with the challenges – often unsuccessfully – it focuses as much attention on innovations and practices outside the mainstream. Throughout, it is alive to, and showcases, important entrepreneurial innovations such as Mubi, Jaman, Withoutabox and IMDb. Written by leading academic commentators that have followed the fortunes of world cinema closely and passionately, as well as experienced hands close to the fluctuating fortunes of the industry, Digital Disruption: Cinema Moves On-line is an indispensable guide to great changes in film and its audiences
Tennessee roads / Jesse Stuart. In Mountain herald / Lincoln Memorial University.
No full textThis picturesque poem was written by then-sophomore (and future celebrated author) Jesse Stuart about the roads of Tennessee
"With strange fantastic motions" : the development of the early Stuart antimasque
No full textThis thesis charts the development of the early Stuart antimasque, from its origins in
Elizabethan progress entertainments to its extended presence in the final Caroline masques.
Scholarship has traditionally located the antimasque’s inception in Jonson’s 1609 Masque of
Queens. Taking up Jonson’s description of the antimasque as a “foil or false masque,” critics
have spoken of the antimasque in primarily negative terms, focusing on instances where it is
wild, indecorous, or threatening. By focussing on a broader selection of masques written by a
range of authors, my study addresses the tremendous variety inherent in the antimasque and its
role as an essential element of the masque form.
The body of my thesis offers a chronological study of the antimasque. Each chapter
concentrates on the masques of a particular historical moment, exploring the antimasque-
masque relationship through a series of emerging metaphors. Chapter One studies the
antimasque’s precursors in Elizabethan progress entertainments. Chapter Two discusses the
masques of the early Jacobean period in connection with the metaphor of the Golden Chain.
Chapter Three applies Jonson’s foil metaphor to the Palatine wedding masques of 1613.
Chapter Four addresses the labyrinthine imagery in the masques of Buckingham’s ascendency
in the early 1620s. Chapter Five discusses the mirror metaphor within Charles and Henrietta
Maria’s Neoplatonic paired masques of the early 1630s. Finally, Chapter Six explores the
function of clouds in Davenant’s final Caroline masques.
Rooted in a close reading of masque texts, the present study provides an “imaginative
reconstruction” of a variety of masques to understand how their disparate elements produce a
unified aesthetic experience. Rather than a simple binary opposition, the antimasque-masque
relationship is continually regenerated according to cultural as well as political pressures, and
its development is central to the progression of the masque form as a whole."This work was supported by a SSHRC Doctoral Fellowship [752-2015-1931], a 7th Century PhD studentship from the University of St. Andrews, and the Falconer Scholarship from the School of English." -- Fundin
Mission unreachable : how Jaman is shaping the future of on-line distribution
No full textPerhaps the most innovative of all independent OLD ventures specialising in ROW content is Jaman. Founded in 2007 by IT entrepreneur Gaurav Dhillon, and based in San Mateo, California, Jaman is a quality specialist distributor of non-Hollywood films. As of late 2010, Jaman had 1.8 million registered users and attracts viewers from most countries in the world. 75% of all use is generated from outside the U.S. Jaman does very well in English speaking parts of the world, particularly current and former Commonwealth countries. The United Kingdom accounts for 29% of users, North America (U.S. and Canada) 26%, and India represents 23%. Jaman is sometimes referred to as ‘social cinema’: a website which brings together the critique and review of a cinephile website (the forums of Rue-morgue.com for cinefantastique movie fans for example) with the social interaction, community and functionality of a social media site (for example Facebook.com). Jaman could be considered a pioneer in this space; a first mover in wrapping commercial movie downloading in an interactive social experience
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