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Aus dem amerikanischen Englisch von Andrea Brandl
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Devised as an entertainment for a Tudor monarch, Galatea might be seen, paradoxically, as a parable for our time. Inhabiting a world engaged in a process of change, the characters find themselves locked in a series of transgressive situations that speak directly to contemporary experience and twenty-first-century critical concerns. Same-sex relationships, shifts of authority, and the destabilization of meaning all lend the play a surprising modernity, making it at once the most accessible of Lyly's plays and the one most frequently performed today. Designed for the student reader, Leah Scragg's edition offers a range of perspectives on the work. An extensive introduction locates the play in the context of the Elizabethan court, opening a window onto a kind of drama very different from that of more familiar sixteenth-century writers, such as Marlowe and Shakespeare. The latter's indebtedness to the play is fully documented, while detailed critical and performance histories allow an insight into the work's susceptibility to reinterpretation. ;
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Leah will nicht mehr träumen. Zu sehr treibt sie die Angst um, nicht in die Realität zurückkehren zu können. Ihr Zwillingsbruder Mika versteht Leah nicht. Er ist Profiträumer und verdiente lange mit seinen Träumen Geld. Geld, das die Geschwister dringend für ihren kranken Vater brauchen. Eines Tages erhält Mika eine anonyme E-Mail und damit die Chance auf 250.000 Dollar: Er soll bei einem geheimen Spiel mitmachen und gegen drei andere Jugendliche antreten. Das Ziel des Spiels? Ungewiss. Der Startpunkt? Im Traum. Das Problem: Seit Mika an Schlafstörungen leidet, ist für ihn ans Träumen nicht mehr zu denken. Ihre einzige Chance ist Leah. Sie muss ihre Angst überwinden und in den Traum eines Unbekannten aufbrechen. In einen Traum, der zum Albtraum wird - und der etwas enthüllt, das Leah und die gesamte Menschheit erschüttern wird …
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Designed to introduce the student or general reader to a largely unfamiliar area of Elizabethan theatrical activity, Five Elizabethan progress entertainments focuses on a group of entertainments mounted for the monarch in the closing years of her reign. Richly annotated, and prefaced by a substantial introduction, the texts enable an understanding of the motives underlying not only the progress itself, but the choice of locations the monarch elected to visit and the personal and political preoccupations of those with whom she determined to stay. Selected for their diversity, the entertainments exhibit the tensions underlying some royal visits, the lavish expenditure entailed for the monarch's hosts and the overlap in terms of both material and authorship between the progress entertainments and the more widely studied products of the sixteenth-century stage.
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What does it mean to be called an industrial designer? This book traces the remarkable rise of this professional identity in historical perspective from a position of anonymity in the early twentieth century, to mid-century professionalisation, to decline and disintegration by 1980. Drawing on new, extensive, original archival research, it uncovers the history of a profession in a state of re-invention, 1930-1980 in Britain and the United States. The book tests assumptions about the relationship between the professions in the two countries, bringing them into comparative historical perspective for the first time. The gendered dynamics of professionalisation and their interaction with the representation of the heroic male designer are interrogated and critically examined. Building on new gender perspectives to the history of the industrial design profession, the book calls for a re-examination of the limits and boundaries of what constitutes professional identity and work.
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