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One of the principal characteristics of the European Neolithic is the development of monumentality in association with innovations in material culture and changes in subsistence from hunting and gathering to farming and pastoralism. The papers in this volume discuss the latest insights into why monumental architecture became an integral part of early farming societies in Europe and beyond. One of the topics is how we define monuments and how our arguments and recent research on temporality impacts on our interpretation of the Neolithic period. Different interpretations of Göbekli Tepe are examples of this discussion as well as our understanding of special landmarks such as flint mines. The ...
The social processes involved in acquiring flint and stone in the Neolithic began to be considered over thirty years ago, promoting a more dynamic view of past extraction processes. Whether by quarrying, mining or surface retrieval, the geographic source locations of raw materials and their resultant archaeological sites have been approached from different methodological and theoretical perspectives. In recent years this has included the exploration of previously undiscovered sites, refined radiocarbon dating, comparative ethnographic analysis and novel analytical approaches to stone tool manufacture and provenancing. The aim of this volume in the Neolithic Studies Group Papers is to explore...
It's like being at a crossroads - a point of absolute, unequivocal change. It makes the blood rush. Theatre Royal, Covent Garden, 1833. Edmund Kean, the greatest actor of his generation, has collapsed on stage whilst playing Othello. A young black American actor has been asked to take over the role. But as the public riot in the streets over the abolition of slavery, how will the cast, critics and audience react to the revolution taking place in the theatre? Lolita Chakrabarti's play creates imagined experiences based on the little-known, but true, story of Ira Aldridge, an African-American actor who, in the nineteenth century, built an incredible reputation on the stages of London and Europ...
In this book Anne Teather develops a new approach to understanding the Neolithic flint mines of southern Britain.
Bruntwood Prize Judges' Award - 2017 Behind the crumbling walls of St Grace's Convent, an exhausted order of nuns needs resurrecting. As Easter approaches, Mother Elizabeth has just the thing. Behold 'Mary', a council-funded robot. Practical and surprisingly funny, for some a blessing, for others a curse - could she be the revelation they have all been praying for? Electric Rosary is a sharp, timely and gloriously funny play by Tim Foley, asking what faith really means in the age of artificial intelligence and what it is to be human in tomorrow's world. It was a Judges' Award winner in the Bruntwood Prize for Playwriting, and premiered at the Royal Exchange Theatre, Manchester, in April 2022.
'You've lies in the whites of your eyes, Nora. What have you done...?' Nora is the perfect wife and mother. She is dutiful, beautiful and everything is always in its right place. But when a secret from her past comes back to haunt her, her life rapidly unravels. Over the course of three days, Nora must fight to protect herself and her family or risk losing everything. Henrik Ibsen's brutal portrayal of womanhood caused outrage when it was first performed in 1879. This bold new version by Stef Smith reframes the drama in three different time periods. The fight for women's suffrage, the Swinging Sixties and the modern day intertwine in this urgent, poetic play that asks how far have we really come in the past hundred years? Nora : A Doll's House was first produced by the Citizens Theatre, Glasgow, in 2019, at Tramway, Glasgow. A new production opened at the Young Vic, London, in February 2020. It was a finalist for the 2020 Susan Smith Blackburn Prize, awarded annually to celebrate women who have written works of outstanding quality for the English-speaking theatre.
A classic of the German stage adapted as a monologue. Though written in 1837 Woyzeck is widely regarded as the first Expressionist play due to its splintered and fragmentary nature. Here it is presented in a new form.
Nothing cuts into us like the family knife. The Webster House. 1965. 1979. 1985. 1990. 2016. Death silences no one, least of all the dead. Set against the ever-changing industrial landscape of working-class Britain, Beth Steel's revelatory new play spans five decades in the lives, and deaths, of the Webster family. The House of Spades premieres at the Almeida in May 2020. Beth Steel won Most Promising Playwright at the Evening Standard Theatre Awards.
On September 11, 1844, Henry Lehman arrived in New York City on a boat from Germany. Soon after, he moved to Montgomery, Alabama, where he and his brother Emanuel established a modest cotton brokering firm that would come to be called Lehman Brothers. On September 15, 2008, Dick Fuld, the last CEO of Lehman Brothers, filed for corporate bankruptcy amid one of the worst financial crises in American history. After 164 years, one of the largest and most respected investment banks in the world was gone, leaving everyone wondering, "How could this have happened?" Peter Chapman, an editor and writer for The Financial Times, answers this question by exploring the complete history of Lehman Brothers...
Strange things begin to happen the minute young Kay Harker boards the train to go home for Christmas and finds himself under observation by two very shifty-looking characters. Arriving at his destination, the boy is immediately accosted by a bright-eyed old man with a mysterious message: “The wolves are running.” Soon danger is everywhere, as a gang of criminals headed by the notorious wizard Abner Brown and his witch wife Sylvia Daisy Pouncer gets to work. What does Abner Brown want? The magic box that the old man has entrusted to Kay, which allows him to travel freely not only in space but in time, too. The gang will stop at nothing to carry out their plan, even kidnapping Kay’s frie...