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Acting as an Epitaph

Performing Commemoration in the Shakespearean History Play

Emily Shortslef

Despite the importance of the epitaph in early modern England, Shakespeare is considered by most critics to have had little regard for the commemorative potential of the genre. But his English history plays take seriously the trope of the living acting as epitaphs for the dead: through embodied epitaphic performances in these plays, Shakespeare draws upon the cultural valences of the epitaph to disrupt and critique the very relation of continuity and obligation between present and past, living and dead, that epitaphs more conventionally propose. The embodied epitaphs of the history plays make a case for rupture rather than continuity, and challenge the notion that the present should imitate the past. Shakespeare uses these epitaphs to interrogate what it means, and costs, to remember the past by remaking the present in its image.

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Ivan Mozzhukhin’s Acting Style

Beyond the Kuleshov Effect

Johannes Riis

, and his 1920s performances (for which he was credited as Mosjoukine) demonstrate varied forms of expressiveness. Scholarship on the film acting of the 1910s and early 1920s has looked at the use of broad poses and gestures as part of a system that

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Jens Jetzkowitz and Jörg Schneider

Recent ecological studies have identified human activity as a relevant dimension of current evolutionary processes. However, most of these studies rely on socioeconomic indicators that consider the impact of activities on ecosystems but have only limited informative value on the effects of concrete patterns of action. This paper focuses on the concept of style as a tool for the study of the interface between society and nature. We exemplify our thesis with reference to changes in plant biodiversity in settlements, and start by summing up the methods and findings of our interdisciplinary research project that aimed to explain the distribution of native and alien plants. Since the findings indicate that styles of living and acting influence plant species composition, we apply the findings of our research strategy beyond the narrow focus of our study. Finally, we comment on methodological implications for the study of the societal aspects of social-ecological systems.

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J. Brandon Colvin

People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.

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Johannes Riis

“beliefs about how things work in general and in the specific adaptational encounter” ( Lazarus 1991: 127 ). The difference in film acting is that actors must be conscious of their choices, at least to a minimal extent. As the actor Gene Hackman put it

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Cristina Clopot, Ullrich Kockel, and Vytis Čiubrinskas

journal significantly during its early years as co-editor (1990–2001) and, for a time (1992–1998), publisher. He remained connected with it over the years, regularly acting as peer reviewer and informal advisor during Ullrich's tenure as editor. His final

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Where Character Is King

Gregory Doran’s Henriad

Alice Dailey

of design-driven staging and instead staking its fortune on character and ensemble acting. 3 Apart from Tennant’s pop-culture caché, the productions felt slightly out of vogue in their relatively low-tech, simply designed style. It is precisely for

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‘The Good Citizen’

Balancing Moral Possibilities in Everyday Life between Sensation, Symptom and Healthcare Seeking

Sara Marie Hebsgaard Offersen, Peter Vedsted, and Rikke Sand Andersen

possibilities for acting as ‘a good citizen’ are reflected in the bodily practices of the Danish middle class, this article particularly pays attention to the ways in which notions of morality are embedded in perceptions of bodily sensations and thereby create

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Whites Cannot Be Black

A Bikoist Challenge to Professor Xolela Mangcu

Keolebogile Mbebe

deny our freedom, we are acting in bad faith. Bad faith is a form of self-deception in that the liar and the one being lied to are one and the same person. Paradoxically, in order to lie, we need to acknowledge the truth. As Sartre (1956: 49) puts it

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Udi Sommer

, for domestic purposes the doctrine that the HCJ had established in Beit Sourik remained intact. The domestic status quo persisted. Thus, if the HCJ had been acting simply on legal motivations and if its focus had been exclusively (or even just