Encounters In The Dark

An interdisciplinary study of a familiar patriarchal narrative Encounters in the Dark: Identity Formation in the Jacob Story traces the many moments of darkness in the life of Jacob. From the darkness of his mother's womb, to the darkness Jacob uses to deceive his father and his brother, to the night he sleeps on the ground with just a stone for a pillow at Bethel, and to the triumphant scene of wrestling God by the Jabbok River, the biblical story frequently situates Jacob in the darkness. Through an exploration of key moments in Jacob's story, Noel Forlini Burt follows Jacob's journey from home to exile and back home again. His story symbolizes the larger story of Israel's own wrestling with God in the darkness of exile and return. Features An exploration of the poetics and rhetoric of the Jacob story An examination of characterization in its ancient and modern contexts An analysis of individual and collective identity

Tales of suspense for the twilight hour... Dark Encounters is a collection of classic and elegantly unsettling ghost stories. A spine-tingling collection, these tales are set in the brooding landscape of Scotland, with an air of historic authenticity – often referring to real events, objects and people. From a demonic text that leaves its readers strangled to the murderous spectre of a feudal baron, this is a crucial addition to the long and distinguished cannon of Scottish ghost stories. For those who seek out the unnerving, the unknown and the unexplainable, Dark Encounters is guaranteed to raise the hair on the back of your neck. This edition features a rare story – 'The MacGregor Skull' – which was the last story every written by the author and posthumously serialised in the Scotsman in 1963.

Dark Encounter by Susanna Firth released on Dec 25, 1979 is available now for purchase.

This volume gathers an international cast of scholars to examine the unprecedented range of colonial encounters during the First World War. More than four million men of color, and an even greater number of white Europeans and Americans, crisscrossed the globe. Others, in occupied areas, behind the warzone or in neutral countries, were nonetheless swept into the maelstrom. From local encounters in New Zealand, Britain and East Africa to army camps and hospitals in France and Mesopotamia, from cafes and clubs in Salonika and London, to anticolonial networks in Germany, the USA and the Dutch East Indies, this volume examines the actions and experiences of a varied company of soldiers, medics, writers, photographers, and revolutionaries to reconceptualize this conflict as a turning point in the history of global encounters. How did people interact across uneven intersections of nationality, race, gender, class, religion and language? How did encounters – direct and mediated, forced and unforced – shape issues from cross-racial intimacy and identity formation to anti-colonial networks, civil rights movements and visions of a post-war future? The twelve chapters delve into spaces and processes of encounter to explore how the conjoined realities of war, race and empire were experienced, recorded and instrumentalized.

A Best Book of the Year: NPR, Vogue, The Huffington Post, The Chicago Review of Books, The National Post, Electric Literature, Kirkus “Wields such a subtle and alien power . . . Wonderfully spooky.” —Jia Tolentino, The New Yorker "A feminist manifesto threaded through imaginative fiction; it’s the most evocative, impressive collection I’ve read this year." —Daniel Johnson, The Paris Review From the acclaimed author of Mr. Splitfoot, Samantha Hunt's first collection of stories, The Dark Dark, blends the literary and the fantastic and brings us characters on the verge—girls turning into women, women turning into deer, people doubling or becoming ghosts, and more Step into The Dark Dark, where an award-winning, acclaimed novelist debuts her first collection of short stories and conjures entire universes in just a few pages—conjures, splits in half, mines for humor, destroys with absurdity, and regenerates. In prose that sparkles and haunts, Samantha Hunt playfully pushes the bounds of the expected and fills every corner with vibrant life, imagining numerous ways in which the weird might poke its way through the mundane. Each of these ten haunting, inventive tales brings us to the brink—of creation, mortality and immortality, infidelity and transformation, technological innovation and historical revision, loneliness and communion, and every kind of love. Laced with lyricism, hope, Hunt’s characteristic sly wit, and her unflinching gaze into the ordinary horrors of human existence, The Dark Dark celebrates the mysteries and connections that swirl around us. It’s never all the same, Hunt tells us. It changes a tiny bit every time. See for yourself.

Cinematic Encounters with Disaster takes Hollywood's disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory that works toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. It examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries from the US and elsewhere, and auteurist-realist cinema from Europe and Asia. Moving across and beyond critical and industrial categories that often inform thinking about cinema, this book contends that different approaches to film style can push us to imagine disaster in distinct ways, with distinct ethical connotations. Framed by contemporary concerns around the global climate crisis and the advent of the Anthropocene, questions about how films can best offer responses to historical exigency guide the book's explorations of spectacular 2010s blockbusters like Gravity (2013) and San Andreas (2015), environmental documentaries including the paradigmatic An Inconvenient Truth (2006), post-disaster films by auteurs including Abbas Kiarostami and Lav Diaz, and more. Conceiving of disaster as intersubjective ethics between humans and nonhuman alterity – forces of nature, errant technology, monsters, ghosts, and other entities – it analyses how formal techniques and narrative strategies render encounters in which human protagonists are confronted with the threat of death and respond in ways that can be instructive for our planet's present juncture.

This collection is intercultural philosophy at its best. It contextualizes the global significance of the leading figures of Western phenomenology, including Husserl, Hegel, Nietzsche, Heidegger, Buber and Levinas, enters them into intercultural dialogue with the Daoism of Laozi and Zhuangzi and in doing so, breaks new ground. By presenting the first sustained analysis of the Daoist worldview by way of phenomenological experience, this book not only furthers our understanding of Daoism and phenomenology, but delves deeper into the roots of human thinking, aesthetic expression, and its impact on the modern social world. The international team of philosophers approach the phenomenological tradition in the broadest sense possible, looking beyond the phenomenological language of Husserl. With chapters on art, ethics, death and the metaphor of dream and hermeneutics, this collection encourages scholars and students in both Asian and Western traditions to rethink their philosophical bearings and engage in meaningful intercultural dialogue.

The essays on dimensions of theatre ethics at the heart of contributions to this volume demonstrate how individual academics and theatre artists have thought about the ethical implications of theatre, and present the concepts and paradigms that have guided and influenced their thinking. They raise relevant issues and debate these in clearly defined, but not uniform ways—ways that have helped them to come to terms with the issues they raise. The reader may agree or disagree with individual authors or individual arguments. If such agreement or disagreement supports them to form and develop their own opinions and resultant actions, this book has served its purpose. This volume arises from the 2007 and 2008 TaPRA conferences and all of its essays, at one level or another, reflect upon what is possible within the environment of theatre. Possibility is one form of ethical engagement with the boundaries of philosophy and performance and reminds us of the inherently political aspect of any ethical question. So whilst the most obviously ethically oriented papers appear towards the end of the volume, in a separate section, let us bear in mind that throughout certain limits of representation will always be in question for any understanding of theatre.