Найти книгу: "Cursed Objects"

Now that we've sold ourselves to ourselves, shuffling letters and sounds around to hide the pain, how do we represent the uncanny valley in which we've set up shop? In <i>Cursed Objects</i>, Jason Christie recoils in horror at the thoroughness of his self, then begins to write toward a new understanding brokered between all the things that define him and who he thinks he should be and interrogates how we reduce people to words, especially online, turning them into objects.

The official playscript of the original West End production of Harry Potter and the Cursed Child. It was always difficult being Harry Potter and it isn't much easier now that he is an overworked employee of the Ministry of Magic, a husband, and father of three school-age children. While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places. The playscript for Harry Potter and the Cursed Child was originally released as a 'special rehearsal edition' alongside the opening of Jack Thorne's play in London's West End in summer 2016. Based on an original story by J.K. Rowling, John Tiffany and Jack Thorne, the play opened to rapturous reviews from theatregoers and critics alike, while the official playscript became an immediate global bestseller. This definitive and final playscript updates the 'special rehearsal edition' with the conclusive and final dialogue from the play, which has subtly changed since its rehearsals, as well as a conversation piece between director John Tiffany and writer Jack Thorne, who share stories and insights about reading playscripts. This edition also includes useful background information including the Potter family tree and a timeline of events from the Wizarding World prior to the beginning of Harry Potter and the Cursed Child .

Inspired by research undertaken for the new Medieval & Renaissance Galleries at the Victoria and Albert Museum, Re-thinking Renaissance Objects explores and often challenges some of the key issues and current debates relating to Renaissance art and culture. Puts forward original research, including evidence provided by an in-depth study arising from the Medieval & Renaissance Gallery project Contributions are unusual in their combination of a variety of approaches, but with each paper starting with an examination of the objects themselves New theories emerge from several papers, some of which challenge current thinking

Impossible objects are those about which the philosopher, narrowly conceived, can hardly speak: poetry, film, music, humor. Such «objects» do not rely on philosophy for interpretation and understanding; they are already independent practices and sites of sensuous meaning production. As Elvis Costello has said, «writing about music is like dancing about architecture.» We don't need literary theory in order to be riveted by the poem, nor a critic's analysis to enjoy a film. How then can philosophy speak about anything outside of itself, namely all of those things which actually matter to us in this world? In Impossible Objects, Simon Critchley – one of the most influential and insightful philosophers writing today – extends his philosophical investigation into non-philosophical territories, including discussions on tragedy, poetry, humor, and music. In a series of engaging and enlightening conversations, Critchley reflects on his early work on the ethics of deconstruction; the recurring themes of mortality and nihilism; his defense of neo-anarchism; and his recent investigation into secular faith, or «a faith of the faithless». Essential reading for artists, academics, and general readers alike, this book explores the relationship between the philosophical world and those complex and fascinating «impossible objects» which give life meaning.