(1988). Amusing ourselves to death: Public discourse in the age of show business. The Social Science Journal: Vol. 25, No. 3, pp. 386-388.

Amusing ourselves to death: Public discourse in the age of show business: By Neil Postman New York: Viking, 1985, Penguin, 1986, 180 pp., $15.95 (cloth), $6.95 (paper)

The present historical moment may seem a particularly inopportune time to review Bowling Alone, Robert Putnam’s latest exploration of civic decline in America. After all, the outpouring of volunteerism, solidarity, patriotism, and self-sacrifice displayed by Americans in the wake of the September 11 terrorist attacks appears to fly in the face of Putnam’s central argument: that “ social capital” —defined as “ social networks and the norms of reciprocity and trustworthiness that arise from them” (p. 19) — has declined to dangerously low levels in America over the last three decades. However, Putnam is not fazed in the least by the recent effusion of solidarity. Quite the contrary, he sees in it the potential to “ reverse what has been a 30to 40-year steady decline in most measures of connectedness or community.” As an example of how the current “ war on terrorism” could generate a durable civic renewal, Putnam points to the burst in civic practices that occurred during and after World War II, which he says “ permanently marked” the generation that lived through it and had a “ terrific effect on American public life over the last half-century.” 3 If Americans can follow this example and channel their current civic

Bowling Alone: The Collapse and Revival of American Community

Society’s perception of the legitimacy of the accounting profession and its members is grounded in the verbal and visual images of accountants that are projected not only by accountants themselves but also by the media. The paper uses the critical literature on stereotypes to examine how books written for a general readership on Enron and other corporate failures portray accountants and accounting, and the implications their authors draw for corporate governance and the survival of the financial system. The paper explores how commentators have analysed the changing activities of accountants (including the rise of consulting) and have contrasted the personalities of, “founding fathers,” of the US accounting profession with their early 21st-Century successors. The paper concludes that changing stereotypes of accountants may be evidence of, “negative signals of movement,” for the accounting profession, threatening accounting’s ongoing professionalization project.

https://papers.ssrn.com/sol3/Delivery.cfm?abstractid=1871879

Traditional Accountants and Business Professionals: Portraying the Accounting Profession after Enron

Society’s perception of the legitimacy of the accounting profession and its members is grounded in the verbal and visual images of accountants that are projected not only by accountants themselves but also by the media. The paper uses the critical literature on stereotypes to examine how books written for a general readership on Enron and other recent corporate failures portray accountants and accounting, and the implications their authors draw for corporate governance and the survival of the financial system. The paper explores how commentators have analyzed the changing activities of accountants (including the rise of consulting) and have contrasted the personalities of “founding fathers” of the US accounting profession with their early 21st-century successors. The paper concludes that changing stereotypes of accountants are evidence of “negative signals of movement” for accounting as a profession.

/pdf/traditional-accountants-and-business-professionals-4jn82a05bw.pdf

Traditional accountants and business professionals: Portraying the accounting profession after Enron

A DICTIONARY OF THEATRE ANTHROPOLOGY THE SECRET ART OF THE PERFORMER 2ND EDITION PDF Are you looking for a dictionary of theatre anthropology the secret art of the performer 2nd edition Books? Now, you will be happy that at this time a dictionary of theatre anthropology the secret art of the performer 2nd edition PDF is available at our online library. With our complete resources, you could find a dictionary of theatre anthropology the secret art of the performer 2nd edition PDF or just found any kind of Books for your readings everyday.

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A Dictionary of Theatre Anthropology. The Secret Art of the Performer

When is a theatre event not a theatre event? Where, in the shifting relationships between (and even the shifting definitions of) actor and audience in modern and postmodern performance, is a useful line to be drawn – if only for purposes of analysis and discussion? How adequate are such traditional concepts as the ‘suspension of disbelief’, when the distinction between the ‘realities’ of the theatre and of the everyday begin to merge or dissolve? Ian Watson, an advisory editor of NTQ who teaches in the Department of Visual and Performing Arts at the Newark Campus of Rutgers University, New Jersey, here explores how the issue is affected by the differing pre-interpretive perspectives of performers and spectators. In this light he describes three recent theatre events – the Broadway production of Death and the Maiden, Harold Pinter's London production of Circe and Bravo, and an instance of Augusto Boal's ‘Invisible Theatre’ – to suggest that it is in these perceptual variations that the clue to understanding theatrical reality may lie.

https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0266464X00011027

Naming the Frame: the Role of the Pre-Interpretive in Theatrical Reception

The actor's process is a deeply individual journey of training, skill acquisition, application, and embodied understanding that in the writing often moves between the two poles of the anecdotal and the prescriptive. One way to better appreciate what is involved is to examine the work of those who have made the actor the centre of their creative process. Eugenio Barba is one such practitioner; his productions are developed from improvisations by his actors, are shaped during rehearsals through a combination of his dramaturgical sense and the actors' psycho-physical reaction to that sense, and ultimately reside solely in the bodies of those actors. In short, an Odin production ultimately rises or falls on the shoulders of its performers. This article examines what supports those shoulders; in doing so it deconstructs the Odin actors' performance-making process and its implications for the production it leads to. The interplay among what I term the embodied technology of the actor (rooted in an extensive tra...

The Odin actor: embodied technology, memory, and the corporeal archive

Hector Noguera is a professor in the theatre department of Santiago's Catholic University as well as one of Chile's leading directors and actors. He is a director of the university's professional theatre company, the School of Communication Arts' Theatre, and is a founding member of several independent groups where he continues to direct and act. Noguera is also president of the International Theatre Institute (ITI) in Chile and has represented Chile at many international conferences, including the UNESCO-sponsored meeting on Latin American theatre in Lima, Peru, in 1987, and the International School of Theatre Anthropology (ISTA) congress in Salento, Italy, the same year. In 1988 he was invited to direct his first English-language production at the Milwaukee Repertory Theatre, a translation of Chilean Antonio Skarmeta's Burning Patience (Ardiente Paciencia), a play about Pablo Neruda which Noguera had directed in Santiago the previous year.

Chilean Theatre in the Days and Nights of Pinochet: An Interview with Hector Noguera

On Training and Performance: Traces of an Odin Teatret Actress

Teatro Ósmego Dnia, the Theatre of the Eighth Day, has for forty years flourished in Poland, never as part of the established theatre, but as one of what Eugenio Barba calls the ‘floating islands’ – those companies which live as much as make theatre, and form part of an informal international circuit of like-minded though distinct and individual groups. Ian Watson here shapes his own memories of the group in the form of a letter to one of NTQ's co-editors, with whom he has shared experiences of Polish theatre, and in particular the work of Eighth Day, relating their history to the changing political and economic environment in Poland, and the company's relationship with the outside world. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.

Ian Watson

Papers

Naming the Frame: the Role of the Pre-Interpretive in Theatrical Reception

The Odin actor: embodied technology, memory, and the corporeal archive

Chilean Theatre in the Days and Nights of Pinochet: An Interview with Hector Noguera

On Training and Performance: Traces of an Odin Teatret Actress

Letter to an Editor: the Yesterday and Today of Poland's Teatr Ósmego Dnia