Theatre World


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The Sacred Wood


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The Ultimate Art


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Discusses how opera embraces human emotion and experience, Western culture, and individual psychology.




An Essay on Laughter.


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James Sully (3 March 1842 - 1 November 1923) was an English psychologist.He was born at Bridgwater, Somerset the son of J.W. Sully, a liberal Baptist merchant and ship-owner. He was educated at the Independent College, Taunton, Regent's Park College, University of Göttingen, where he studied under Lotze, and at Humboldt University, Berlin where he studied under DuBois-Reymond and Helmholtz.Sully was originally destined for the nonconformist ministry and in 1869 became classical tutor at the Baptist College, Pontypool. In 1871, however, he adopted a literary and philosophic career. Between 1892 and 1903, he was Grote Professor of the Philosophy of Mind and Logic at University College London, where he was succeeded by Carveth Read.




Chaos and Night


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Don Celestino is old and bitter and afraid, an impossible man. An anarchist who has been in exile from his native Spain for more than twenty years, he lives with his daughter in Paris, but in his mind he is still fighting the Spanish Civil War. He fulminates against the daily papers; he brags about his past exploits. He has become bigoted, self-important, and obsessed; a bully to his fellow exiles and a tyrant to his daughter, Pascualita. Then a family member dies in Madrid and there is an inheritance to sort out. Pascualita wants to go to Spain, which is supposedly opening up in response to the 1960s, and Don Celestino feels he has no choice but to follow. He is full of dread and desire, foreseeing a heroic last confrontation with his enemies, but what he encounters instead is a new commercialized Spain that has no time for the past, much less for him. Or so it seems. Because the last act of Don Celestino’s dizzying personal drama will prove that though “there is nothing serious . . . , there is tragedy.” An astonishing modern take on Don Quixote, Chaos and Night untangles the ties between politics and paranoia, self-loathing and self-pity, rage and remorse. It is the darkly funny final flowering of the art of Henry de Montherlant, a solitary and scarifying modern master whose work, admired by Graham Greene and Albert Camus, is sure to appeal to contemporary readers of Thomas Bernhard and Roberto Bolaño.




Producing the Play


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Versailles Meets the Taj Mahal


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Versailles Meets the Taj Mahal identifies and explores the traces that exposure to India left on the cultural artifacts and mindset of France’s "Great Century" and the early Enlightenment. Focusing on the salon of Marguerite de La Sablière and its encounter with the traveler and philosopher François Bernier, this book resurrects the conversations about India inspired by Bernier’s travels and inscribed in his influential texts produced in collaboration with La Sablière’s salon. The literary works, correspondences, and philosophical texts produced by the members of this eclectic salon bear the traces of this engagement with India. Faith E. Beasley’s analysis of these conversations reveals France’s unique engagement with India during this period and challenges prevailing images derived from a nineteenth-century "orientalism" imbued with colonialism. The India encountered in La Sablière’s salon through Francois Bernier and others is not the colonized India that has come to dominate any image of the Orient. Versailles Meets the Taj Mahal adds a new chapter to literary and cultural history by adopting a new approach to the study of salon culture, exploring how texts, cultural artifacts, and patterns of thought were shaped by the collective reading and by the conversations emanating from these practices. Beasley’s analysis highlights the unique role of French salon culture in the evolution of western thought during the early modern period.




Cocks in the Dawn


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