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Haught offers a provocative take on how reconciliation between evolution and Christian theology might begin, and questions whether the two concepts must be mutually exclusive.
A collection of articles by drama specialists - Divided into three sections teaching and learning of drama, making and performing drama in school, watching and understanding drama.
This book represents a culmination of research, thought, and clinical experience collected over the past 15 years. It was written to help those individuals who find themselves in the quandry of not demonstrating symptoms of sufficient intensity and/or severity to be recognized as obsessive and compuslive and yet they are. Such mild-moderate symptoms (Obsessive Compulsive Symptoms; OCS rather than OCD) are nevfertheless life interfering, distressing, anxiety and panic provoking, have secondary and tertiary symptoms causally linked to them such as depression, explosiveness, emotional instability and yet are very treatable. This book is for us all. May the information therein help you as it has been helping others well before the actual book was completed. Ron D. Kingsley
Etymologically speaking, the words “know” and “narrate” share a common ancestry.Making Sense in Shakespeare examines some of the ways in which this distant kinship comes into play in Shakespearean drama. The argument of the book is that at a time in European cultural history in which the problem of knowledge was a matter of intensifying philosophical concern, Shakespeare too was in his own way exploring the possibilities and shortcomings of the various interpretative models that can be applied to experience so as to make it intelligible. While modes of understanding based upon such notions as those of naturalistic causality or rational human agency are shown to be inadequate in Shakespeare's plays, his characters often impart form and significance to their experience through what are essentially narrative means, projecting stories onto events in order to make sense of them and to direct their activity accordingly. Narrative thus plays a crucial role in the construction of meaning in Shakespeare's plays, although at the same time, as the author emphasizes, his works are no less concerned to illustrate the perils inherent in the narrativizing strategies deployed by their protagonists which often render them self-defeating and even destructive in the end.
In this fun and provocative page-turner, Michael Fanuele, one of the world’s most successful marketing strategists, shares The Six Skills of Inspiration. With insights from music, politics, business, neuroscience, and a recipe for radishes, Stop Making Sense shares the creative blueprint that can unleash the inspiring leader in all of us. “If Brené Brown and Simon Sinek had a book baby together, you’re looking at it right now. Stop Making Sense is a new manual for learning true leadership. Fanuele’s set of simple principles that changed my life over the last quarter century will change yours in a matter of hours.”—Andrew Zimmern, chef, author, teacher, host and producer of Travel Channel’s Bizarre Foods “Michael Fanuele shows us how our passion and emotion will take us farther than our logic ever can. I can't convince you to read this book, but I guarantee you'll be inspired by doing so.”—Beth Comstock, author of Imagine It Forward and former vice chair, GE “This is the book we need now: a blueprint for leading with heart, passion, and imagination. Fanuele is such a fun and generous storyteller you almost don't realize that he’s murdering so many small and cynical voices.” —Andrew Essex, Co-founder, Plan A, author of The End of Advertising, former CEO, Droga5 and Tribeca Enterprises “This funny, sweary, energetic, challenging book will push you into a whole new way to find that compelling inspiration we’d all secretly like 1000% more of.”—Adam Morgan, author of Eating The Big Fish and A Beautiful Constraint and founder, eatbigfish “The best magic bends your brain, and that’s exactly what Michael Fanuele does in Stop Making Sense. With wit and insight, he dismisses the myth that we have to wait for inspiration to strike. He reveals the secrets that can make any of us a muse, dazzling audiences and getting the very best out of our teams, families, and most important, ourselves.”—David Kwong, magician, “The Enigmatist,” author of Spellbound, puzzle creator, and producer
A New York Times New and Noteworthy Book From the bestselling author of Waking Up and The End of Faith, an adaptation of his wildly popular, often controversial podcast “Sam Harris is the most intellectually courageous man I know, unafraid to speak truths out in the open where others keep those very same thoughts buried, fearful of the modish thought police. With his literate intelligence and fluency with words, he brings out the best in his guests, including those with whom he disagrees.” -- Richard Dawkins, author of The Selfish Gene “Civilization rests on a series of successful conversations.” —Sam Harris Sam Harris—neuroscientist, philosopher, and bestselling author—has been exploring some of the most important questions about the human mind, society, and current events on his podcast, Making Sense. With over one million downloads per episode, these discussions have clearly hit a nerve, frequently walking a tightrope where either host or guest—and sometimes both—lose their footing, but always in search of a greater understanding of the world in which we live. For Harris, honest conversation, no matter how difficult or controversial, represents the only path to moral and intellectual progress. This book includes a dozen of the best conversations from Making Sense, including talks with Daniel Kahneman, Timothy Snyder, Nick Bostrom, and Glenn Loury, on topics that range from the nature of consciousness and free will, to politics and extremism, to living ethically. Together they shine a light on what it means to “make sense” in the modern world.
Making Meaning is a synthesis of theory, research, and practice that explicitly presents art as a meaning making process. This book provokes readers to examine their current understandings of language, literacy and learning through the lens of the various arts-based perspectives offered in this volume; provides a starting point for constructing broader, multimodal views of what it might mean to “make meaning”; and underscores why understanding arts-based learning as a meaning-making process is especially critical to early childhood education in the face of narrowly-focused, test-driven curricular reforms. Each contributor integrates this theory and research with stories of how passionate teachers, teacher-educators, and pre-service teachers, along with administrators, artists, and professionals from a variety of fields have transcended disciplinary boundaries to engage the arts as a meaning-making process for young children and for themselves.
Taking the soap opera as a case study, this book explores the 'parasocial interaction' people engage in with television programmes. It looks at the nature of the 'active viewer' and the role of the text in social psychology. It also investigates the existing theoretical models offered by social psychology and other discourses. This second edition takes into account recent research work and theoretical developments in fields such as narrative psychology, social representation theory and ethnographic work on audiences, and look forward to the developing role of audience research. It will be an essential study for students and lecturers in social psychology and media studies.
Why teach drama? How can a newcomer teach drama successfully? How do we recognize quality in drama? Starting Drama Teaching is a comprehensive guide to the teaching of drama in schools. Exploring the aims and purposes of drama, it provides an insight into the theoretical perspectives that underpin practice alongside activities, example lesson plans and approaches to planning. Written in an accessible style, the book addresses such practical issues as setting up role play, how to inject depth into group drama, working with text, teaching playwriting, as well as common problems that arise in the drama classroom and how to avoid them. This fourth edition has been updated to reflect the latest educational thinking and developments in policy and includes: a new chapter on researching drama; an extra section on digital technology and drama; guidance on different approaches to drama; advice on how teachers can achieve and recognize quality work in drama; a discussion of drama concepts including applied theatre, ensemble and rehearsal approaches. Acting on the growing interest in drama both as a separate subject and as a teaching methodology, this book is full of sensible, practical advice for teachers using drama at all levels and in all kinds of different school contexts. Written by an internationally recognized leading name in drama education, this book is valuable reading for trainee teachers who are new to drama and teachers who wish to update and broaden their range.
