Deaths Transfigurations

Click here to listen to an audio interview with Paul Mariani This provocative collection of new poems is the latest in a series of Paul Mariani's rich contributions to American literature. These spiritually searching poems develop themes of personal loss - the deaths we experience - as well as the quest for new life often known as tranfigurations. Barry Moser, one of the world's foremost book designers and illustrators, has created a series of original engravings within the text that correspond to the major themes in Mariani's verse. Listen to Paul Mariani Read from Deaths and Transfigurations: Solar Ice The Sweater Casualty Report Silt Death and Transfiguration 911 High Tea with Miss Juliana Hopkins in Ireland When We Walked Together

The open access publication of this book has been published with the support of the Swiss National Science Foundation. Death, the ultimate change, is an unexpected Leitmotiv of Ovid’s career and reception. The eighteen contributions collected in this volume explore the theme of death and transfiguration in Ovid’s own career and his posthumous reception, revealing a unity in diversity that has not been appreciated in these terms before now.

The fourth book in the series featuring the irascible but loveable amateur sleuth Daniel Jacobus Vaclav Herza, the last of a dying breed of great but tyrannical conductors, has been music director of Harmonium for forty years. The world famous touring orchestra was created for him when he fled Czechoslovakia for America during the political turmoil in Eastern Europe in 1956. It is the eve of the opening of a dramatic new concert hall designed by Herza himself. It is also the eleventh hour of intense contract negotiations with the musicians that have strained relations within the organization. When the acting concertmaster, Scheherazade O'Brien, is summarily dismissed by the despotic Herza for the permanent concertmaster position, an audition she was poised to win, O'Brien slits her wrists and the orchestra becomes convulsed. Now, blind, cantankerous violin teacher Daniel Jacobus, who had shunned O'Brien's earlier plea for help against Herza's relentless harassment, investigates Herza's dark past not only in Prague, but in Tokyo and New York. With the help of his old friends Nathaniel Williams, Max Furukawa, and Martin Lilburn, he seeks not only revenge but redemption from the guilt of his own past.

The romantic sweep of Death and Transfiguration greets the reader immediately, from the onset of the first verse of the play to its dramatic conclusion. Set in the stunning locale of the magnificent vistas of the Swiss Alps by the Viervaldstettersee, this play takes you on a breathtaking journey into the psychological worlds of its characters. Based partly on earlier stories and legends of Faust, more specifically, works by Christopher Marlowe and Wolfgang von Goethe, we find him in this version challenging the temptations of evil rather than embracing them. The cosmic conflict between good and evil, between the light and the darkness, is the central theme of this work. Can man withstand the temptations of the evil forces or will he eventually succumb to those desires? Can his will, his spirit withdraw from the constant knocking of Satan? Can love overcome the seeds of hate and anger? Faust, at the outset, resists the invitation to join Mephistopheles; and, in subsequent engagements with the amoral and immortal prevaricator, he attempts and continues to withstand the clever manipulations of the devil. As a result of this ongoing conflict, the plot intensifies as this singular antagonist unveils and harnesses his many talents and powers, relentlessly attempting to infuse his will into the characters. The touching love story between Faust and Margaret takes on new dimensions here. Her growing madness tests the very sanity of Faust himself who finds himself more and more incapable of action as the tragedy unfolds. Will he too join her in the darkness? Is there, or can there be any redemption or salvation from suffering? Set throughout in poetry, the heart pounding pulse and rhythm of the work undeniably transports the reader or the spectator watching the play to new dimensions. Relish in a work that is unpredictable and unique, a play that will test your own convictions.

At the age of forty-six, the author, summoned by a compelling inner voice to leave everything, embarked on an intense spiritual quest to find God. This account of her journey inwards reflects her spiritual development over the period of her father’s illness and death, as well as her mother’s deteriorating mental condition. Rooted in scripture, this little volume offers an illuminating, even dazzling, portrayal of one woman’s capacity to deal, entirely alone, with the deepest grief and pain without losing perspective. Her great gift to us is her ability to see everything in the light of eternity and as the will of God. From this spiritual vantage point, she was given eyes to see far. This book reflects the intensity of her consciousness of God and the tension under which she lived and wrote. The more mystical passages, often lyrical in expression, reveal a depth and an immediacy, which makes the message compellingly direct. Anyone caring for an elderly parent, grieving the loss of a loved one, or struggling to make sense of pain and suffering, will find encouragement and hope in these pages.

In this, her latest, deeply moving collection, Kelly Cherry confronts the basic questions of love and death, faith and suffering. From her search for "a new poetry" - one that can face up to the worst barbarities of the twentieth century - Cherry wrests a passionate, authoritative, powerful vision that is itself transfiguring.

In many senses, viewers have cut their teeth on the violence in American cinema: from Anthony Perkins slashing Janet Leigh in the most infamous of shower scenes; to the 1970s masterpieces of Martin Scorsese, Sam Peckinpah and Francis Ford Coppola; to our present-day undertakings in imagining global annihilations through terrorism, war, and alien grudges. Transfigurations brings our cultural obsession with film violence into a renewed dialogue with contemporary theory. Grønstad argues that the use of violence in Hollywood films should be understood semiotically rather than viewed realistically; Tranfigurations thus alters both our methodology of reading violence in films and the meanings we assign to them, depicting violence not as a self-contained incident, but as a convoluted network of our own cultural ideologies and beliefs.

Powerfully posing questions of ethics, ideology, authorship and form, documentary film has never been more popular than it is today. Edited by one of the leading British authorities in the field, The Documentary Film Book is an essential guide to current thinking on documentary film. In a series of fascinating essays, key international experts discuss the theory of documentary, outline current understandings of its history (from pre-Flaherty to the post-Griersonian world of digital 'i-Docs'), survey documentary production (from Africa to Europe, and from the Americas to Asia), consider documentaries by marginalised minority communities, and assess its contribution to other disciplines and arts. Brought together here in one volume, these scholars offer compelling evidence as to why, over the last few decades, documentary has come to the centre of screen studies.