Freedom Of The Mask

This historical adventure filled with menace and mayhem by a New York Times–bestselling author “keep[s] the story twisting unpredictably. . . . [A] page-turner” (Publishers Weekly, starred review). At the dawn of the eighteenth century, Matthew Corbett, professional problem solver, has left New York for Charles Town on an assignment from his agency—and vanished. As his friend Hudson Greathouse sets out to track him down, he has no idea that Matthew is across the sea in London’s notorious Newgate Prison, accused of murdering a Prussian count and targeted by a masked vigilante. Now Hudson, accompanied by Matthew’s beloved Berry Grigsby, must sail to England in hopes of saving him in time . . . Featuring Daniel Defoe as a fellow inmate at Newgate, this whirlwind tale of mystery and adventure comes from Robert McCammon, the multiple award-winning author of five previous novels featuring Matthew Corbett, as well as such classics as Swan Song and Boy’s Life. “Rousing . . . Matthew quickly becomes embroiled in mysteries involving fellow inmate Daniel Defoe; a gin-running street gang, the Black-Eyed Broodies; a kidnapped Italian opera singer; and a masked avenger.” —Publishers Weekly, starred review Praise for the Matthew Corbett Novels “Matthew is a very well designed character, very much a man of his time but also ahead of his time, as though he has stepped out of a modern-day crime lab into the early eighteenth century.” —Booklist “This popular series takes us to a long forgotten time with characters who never fail to entertain.” —The Florida Times-Union

Hearts and Minds Without Fear: Unmasking the Sacred in Teacher Preparation is the first book of its kind that focuses on the critical urgency of integrating creativity, mindfulness, and compassion in which social and ecological justice are forefronted in teacher preparation. This is especially significant at a time of cultural turmoil, educational reform, and inequities in public education. The book serves as a vehicle to unmask fear within current educational ethical deficiencies and revitalize hope for community members, teacher educators, pre-service, in-service teachers, and families in school communities. The recipients of these strategies are explicitly presented in order to build understanding of a compassionate paradigm shift in schools that envisions possibility and social imagination on behalf of our children in schools and our communities. The authors unabashedly place the arts and aesthetics at the core of the educational paradigm solution. The book lives its own message. Within each seed chapter, the authors practice authentically what they preach, offering a refreshing perspective to bring our schools back to life and instill hope in children’s and educators’ hearts and minds.

Sartre on Sin: Between Being and Nothingness argues that Jean-Paul Sartre's early, anti-humanist philosophy is indebted to the Christian doctrine of original sin. On the standard reading, Sartre's most fundamental and attractive idea is freedom: he wished to demonstrate the existence of human freedom, and did so by connecting consciousness with nothingness. Focusing on Being and Nothingness, Kate Kirkpatrick demonstrates that Sartre's concept of nothingness (le néant) has a Christian genealogy which has been overlooked in philosophical and theological discussions of his work. Previous scholars have noted the resemblance between Sartre's and Augustine's ontologies: to name but one shared theme, both thinkers describe the human as the being through which nothingness enters the world. However, there has been no previous in-depth examination of this 'resemblance'. Using historical, exegetical, and conceptual methods, Kirkpatrick demonstrates that Sartre's intellectual formation prior to his discovery of phenomenology included theological elements-especially concerning the compatibility of freedom with sin and grace. After outlining the French Augustinianisms by which Sartre's account of the human as 'between being and nothingness' was informed, Kirkpatrick offers a close reading of Being and Nothingness which shows that the psychological, epistemological, and ethical consequences of Sartre's le néant closely resemble the consequences of its theological predecessor; and that his account of freedom can be read as an anti-theodicy. Sartre on Sin illustrates that Sartre' s insights are valuable resources for contemporary hamartiology.

Disaster Pedagogy for Higher Education serves as an all-purpose, contextually grounded, and multi-modal introduction to teaching in higher education during times of crisis and disaster. The text covers a wide variety of topics such as classroom pedagogy, emergency management, and study abroad, from a variety of contributors including professors, administrators, adjunct faculty, and students. It is organized into the three sections: Research and Criticism, which contains three essays that highlight original research and scholarly critique of topics related to higher education during disaster; Explorations and Examinations, consisting of five essays that focus on best practices of a specific aspect of higher education during disaster; and Personal and Professional Reflections, made up of six essays that provide a more personal look into how disasters have impacted faculty, administration, and students in the academy.

In this original and highly accomplished study, Marie Maclean studies the writings of social rebels and explores the relationship between their personal narratives and illegitimacy. The case studies which Maclean examines fall into four different groups which: * stress alternative family structures and `female genealogies' * pair female illegitimacy and revolution * question the deliberate refusal of the name of the father by the legitimate * study the revenge of genius on the society which excludes it. Skilfully interweaving feminist theory, French literary criticism, social and cultural history, deconstruction and psychoanalytic theory, Maclean traces the place of these personal narratives of illegitimacy in history and theory, from Elizabeth I to Freud, Sartre and Derrida.

Imagine an island with the scientific knowledge we have today but technology not being shared with the general population, in fact science is replaced by pseudo-science and mysticism for the public. There is a religion without God led by a female pope and her bishops who mimicked her makeup what resulted in the mask-sect, officials painting artistic masterpieces on their faces. The administration of everything was taken over by the main computer Argus after the destructive civil war between red and blue, now all inhabitants have a guaranteed minimal income and entertainment provided freely by Argus, as well as food pills with extras caring for good digestion. Sex is ill-advised and euphory pills provide a great replacement, newborn babies, normally created by in vitro insemination, are taken immediately from the mother and raised in Argus nurseries by sociologists and psychiatrist, education is in standard schools following strict programs. The system is deeply established in the capital City but in the second largest city, Sodom there is some anarchistic system competing with the computer. In the semi-desert called the Delta (of the river Stiks) a community of cave-dwellers is surviving in very poor conditions, the area above the salt desert is supposed to be contaminated after the civil war by the use of mini neutron-bombs and chemical warfare. Now a blind street singer is hired in an Argus hunting team to find and kill a terrorist in the Delta…

In Sensuous Knowledge, Minna Salami draws on Africa-centric, feminist-first and artistic traditions to help us rediscover inclusive and invigorating ways of experiencing the world afresh. Combining the playfulness of a storyteller with the insight of a social critic, the book pries apart the systems of power and privilege that have dominated ways of thinking for centuries – and which have led to so much division, prejudice and damage. And it puts forward a new, sensuous, approach to knowledge: one grounded in a host of global perspectives – from Black Feminism to personal narrative, pop culture to high art, Western philosophy to African mythology – together comprising a vision of hope for a fragmented world riven by crisis. Through the prism of this new knowledge, Salami offers fresh insights into the key cultural issues that affect women’s lives. How are we to view Sisterhood, Motherhood or even Womanhood itself? What is Power and why do we conceive of Beauty? How does one achieve Liberation? She asks women to break free of the prison made by ingrained male-centric biases, and build a house themselves – a home that can nurture us all. Sensuous Knowledge confirms Minna Salami as one the most important spokespeople of today, and the arrival of a blistering new literary voice.

Hailed at its premiere at the London Coliseum in 1986 as the most important musical and theatrical event of the decade, The Mask of Orpheus is undoubtedly a key work in Harrison Birtwistle's output. His subsequent stage and concert pieces demand to be evaluated in its light. Increasingly, it is also viewed as a key work in the development of opera since the Second World War, a work that pushed at the boundaries of what was possible in lyrical theatre. In its imaginative fusion of music, song, drama, myth, mime and electronics, it has become a beacon for many younger composers, and the object of wide critical attention. Jonathan Cross begins his detailed study of this 'lyric tragedy' by placing it in the wider context of the reception of the Orpheus myth. In particular, the significance of Orpheus for the twentieth century is discussed, and this provides the backdrop for an examination of Birtwistle's preoccupation with the story in a variety of works across his creative life. The sources and genesis of The Mask of Orpheus are explored. This is followed by a close reading of the work's three acts, analysing their structure and meaning, investigating the relationship between music, text and drama, drawing on Zinovieff's textual drafts and Birtwistle's compositional sketches. The book concludes by suggesting a range of contexts within which The Mask of Orpheus might be understood. Its central themes of time, memory and identity, loss, mourning and melancholy, touch a deep sensibility in late-modern society and culture. Interviews with the librettist and composer round off this important study.

This book looks at how the ideas of freedom, property, and order are expressed in modern social contract theories (SCTs). Drawing on the theories of Hobbes, Locke, Rousseau, and Rawls, it studies how notions of freedom promulgated by these SCTs invariably legitimise and defend the private ownership of the means of production. It argues that capitalism’s impact on individual dependence and economic inequality still stems from this model, ultimately working in favour of proprietors. The author highlights the problematic nature of SCTs, which work as ideological mechanisms put forward under the guise of formal equality and formal freedom, by focusing on the historical and social context behind them. From a methodological point of view, the author presents a de-ideologization of the contractarian issue and provides insight into the political ‘layers’ within the discourse of individualism, human nature and morality shaping the outer corners of contractarian theory. An important intervention in the study of SCTs, this volume will be of great interest to scholars and researchers of political and social theory, sociology, political history, and political philosophy.

The present publication has been conceived as a critical reflection, in different disciplinary fields, on the social, institutional, and cultural impact of the recent COVID-19 pandemic in Asia and Africa. The issues presented here were first discussed as part of a larger research project at two conferences, held in Rome in June and October 2022. After extensive revision, these results have now been collected as fully developed articles in the current two volumes: the first focuses on the cultural, artistic, and media-related facets of the pandemic; the second on its social and institutional implications. This Volume I examines the effects of the traumatic events brought about by the COVID-19 pandemic on various cultural phenomena, artistic expressions, and social media communication, analysing among other themes the creation of new narratives and the modalities of personal and collective responses. The articles cover vast geographical areas, spanning from the Middle East to the Indian Subcontinent and East Asia, and aim at making their multiple visions converge in one compact perspective of empathic connection.

This transformational book works as a catalyst speaking to the heart and soul of the everyday woman who may have been living with unforgiveness, anger, resentment from past relationships. Removing the Mask helps women get to the core of what's really holding them back, by helping them UNCOVER issues that stunt them in walking with authentic confidence toward their God-given purpose. This book is for the woman who says to herself "enough is enough."

Mask Off: A Journey to Freedom was birthed in 2020 during the pandemic. We lived in a time when wearing masks became the norm to protect us from the deadly effects of the Covid-19 virus. Masks became a necessity for our well-being. No longer did we recognize each other beyond our eyes. Hiding became easy. Like the pandemic, how long have we depended on invisible "masks" to cover what we don't want people to see spiritually? Pride, jealousy, fear, traumatic disorders, addiction, etc., are all examples of what we hide behind our "masks." Afraid of what people will say if they see the scars and wounds life has brought us. "Masks" not only hide, but they also hinder us from true freedom. This book unveils my journey to reaching and maintaining freedom with God's guidance. Every chapter will have you looking within yourself and challenging yourself to change. The "masks" you hide behind will surely come off. Are you ready to start your Journey to Freedom? Let's go!

'You had to decide to let yourself be turned upside down, you had to accept to see the idea you had forged about yourself progressively shatter.' In the summer of 1969, at 19 years old, Didier Mouturat gave up on college, shattering his parents' hopes that he follow a safe and conventional course. Fresh from the wild Parisian student revolt of 1968, with its street battles and slogans, he set out to find a life that would be truly alive, deciding to be a classical actor. When he met Cyrille Dives, however, the universe of masks quietly turned his world upside down. This book describes Mouturat's apprenticeship to a unique theater artist. In the 1970s and early 80s, Dives created a theater of masks, a Western parallel to Japanese Noh. Dives was a true bohemian artist, a sculptor of masks, a painter and theatrical director. Cyrille Dives was also a spiritual master. Mouturat's apprenticeship encompassed everything from walking in a way that brings a mask to life to cultivating a beginner's mind. Slowly and subtly, the theater apprenticeship became an encounter with the deeper truth of his own being. 'I am speaking of an intimate, progressive discovery that we are not masters of our own being -- that it is only the result of a system of reactions that tyrannize us.' Mouturat becomes Dives's right-hand man, helping establish a theater and a school of masks. That work is evident here in enchanting illustrations, as well as words. Yet as translated by the scholar and author Roger Lipsey, Mouturat also offers a pithy chronicle of a search for meaning and inner being.

From the Arab Spring to the Spanish Indignados, from Occupy Wall Street in New York to Nuit Debout in Paris, contemporary protest bears the mark of citizenism, a libertarian and participatory brand of populism which appeals to ordinary citizens outraged at the arrogance of political and financial elites in the wake of the Great Recession. This book draws on 140 interviews with activists and participants in occupations and demonstrations to explore the new politics nurtured by the 'movement of the squares' of 2011-16 and its reflection of an exceptional phase of crisis and social transformation. Gerbaudo demonstrates how, in waging a unifying struggle against a perceived Oligarchy, today's movements combine the neo-anarchist ethos of horizontality and leaderlessness inherited from the anti-globalisation movement, and a resurgent populist demand for full popular sovereignty and the reclamation of citizenship rights. He analyses the manifestation of this ideology through the signature tactics of these upheavals, including protest camps in public squares, popular assemblies and social media activism. And he charts its political ramifications from Podemos in Spain to Bernie Sanders in the US, revealing how the central square occupations have been foundational to current movements for radical democracy worldwide.

David Michael Levin's ongoing exploration of the moral character and enlightenment-potential of vision takes a new direction in The Philosopher's Gaze. Levin examines texts by Descartes, Husserl, Wittgenstein, Nietzsche, Heidegger, Benjamin, Merleau-Ponty, and Lévinas, using our culturally dominant mode of perception and the philosophical discourse it has generated as the site for his critical reflections on the moral culture in which we are living. In Levin's view, all these philosophers attempted to understand, one way or another, the distinctive pathologies of the modern age. But every one also attempted to envision—if only through the faintest of traces, traces of mutual recognition, traces of another way of looking and seeing—the prospects for a radically different lifeworld. The world, after all, inevitably reflects back to us the character, the reach and range, of our vision. In these provocative essays, the author draws on the language of hermeneutical phenomenology and at the same time refines phenomenology itself as a method of working with our experience and thinking critically about the culture in which we live.

While assimilating theoretical insights from Aristotle to this day, this title contests, inter alia, the theory of comedy's ritual origin; challenges the age-old and continuing attempts to determine the structure of action that characterises comedy; and, suggests instead that structures of action are shared by all genres.

Being-in-time to the music from the ground up is a work in phenomenology, where this term is broadly defined, comprehending Plato, Heidegger, Hegel, and Marx. The most direct referent is Hegel, together with the theoretical revolution that he initiated with Phenomenology of Mind. This text’s more general purpose is to set the tone for a 21st communism based upon the idea of dancing with death, assuming full responsibility for one’s mortality, and abandoning the self to love as the meaning of existence. This dance is choreographed through my conversations with the above mentioned writers. In conversing with them I aim to displace (if not usurp) them from the throne of honour which is nothing more than the authority borrowed from me. By this I do not intend to deny completely their ‘other to me’ character. However, they exist or even ‘figure’ for me, both in the sense of of ‘count,’ having importance, as those that I read, and by which I read myself. They have borrowed my authority, namely, my own potential to be an author. So ‘reading them is to re-assume that borrowed authority. The life of the reader, to paraphrase Barthes, begins with the death of the author.