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"There are no words for it," the final line states in the poem, "If You're Lucky." There are no words for it, for the silence. Yet, it speaks. There are no words for the depth of experience, yet many words are used to suggest what it might be, what moments of happiness, sadness, loss and love--the important things--feel like in lives destined for demise. Whether in longer poems or the briefest, Hav invites a reader to consider along with him the feeling of existence, its inevitable joy, sorrow, noise, silence, not in binary terms but as mixtures. We took up his invitation as translators and now invite you to join us and him to enter the space he has created to ponder the important things. Poetry.
When his collection Grundstof, from which most of the poems in We Are Here hail, was published in 2004, it was welcomed in one of Denmark's most widely read newspapers Ekstra Bladet with these words: "Niels Hav is an economical writer. He only inconveniences the public when he has something important on his mind. Hav's aim is to give weight to every word and to cut to the bone. It's been ten years since his last book, but when he finally does publish what's on the page actually says something. Grundstof's words are saturated with experience and wisdom."The English translations of his poems in We Are Here are no different: they address what Hav considers to be elemental about life, that undeniable essence without which everything makes little sense. His voice is direct and humorous, intelligent, lyrical and philosophical: a voice that takes into account the difficulties of staying close to the elemental. Hav is devoid of sly obfuscation; he is a poet unafraid of being clear. What could be more direct or elemental than the fact that We Are Here?
This textbook provides an accessible description of the basic concepts of atomic and molecular quantum structure, and how we probe that structure using light. The ideas described here underpin many aspects of modern science in fields such as quantum computing, astrophysics and astronomy, environmental and atmospheric chemistry, and nanotechnology, to name a few. The content of this book is appropriate for those who are new to the field, such as undergraduate students, and can also be a valuable reference for non-practitioners who are interested in the subject. There are many in-chapter examples, end-of-chapter questions, and detailed workbooks included (at the end of the book) which will help the reader practice applying the material as they make their way through the text. Accompanying master classes and tutorial videos are available on the CPPC Spectroscopy YouTube channel.
Since its inaugural issue in April, 2000, the journal Consciousness, Literature and the Arts has regularly published essays on the intersection of theatre and consciousness. Often these essays have seen theatre as a spiritual practice that for both the performer and her audience can bring about experiences that help heal the world, a shift in consciousness. This practice, though spiritual, is not ethereal but is rooted in doing, in actions, in breathing. That is, theatre is seen as an art form understood as part of a whole, as taking place in total Consciousness as well as expressing consciousness(es), making both breathing a source of meaning and shamanic journeying part of the creative process that brings into “being” imaginative resources for the actor that undermines traditional understandings of character/self/ego. All the pieces collected here, then, reveal a concern with consciousness and the theatre, the ways that performance can be a spiritual practice, a means a reaching higher levels of consciousness, as well as the ways the theatre may have healing effects on audiences by engaging them in wider and deeper levels of imagination, the levels where dualities disappear.
At the heart of poetry lies the desire to belong - to a place, a space, a country. Our experiences of the spaces we inhabit shape our identities and define the contours of our lives. In this collection of poems, we explore the varied and complex emotions that arise from our relationship with the spaces we inhabit. Sometimes, a place is a dream we strive to achieve, a refuge from pain, or the lingering scent of a lost love. Space can be many things at different times in our lives. This eclectic and diverse collection brings together the voices of poets from all corners of the world, each offering a unique perspective on the theme of space. Through the kaleidoscope of words in this collection,...
A Spectator is the first published collection of ekphrastic poetry by poet, author, playwright and dramaturge Per K. Brask. "Ekphrasis” is defined as literary commentary on a work of art. Think John Keat's poems "Ode on a Grecian Urn" or "On Seeing the Elgin Marbles for the First Time." A Spectator is a modern take on this poetic tradition. Written in "plain speech," these 50 accessible and insightful poems express the poet's playful attention to live performances, works of art, exhibits or life moments. Readers will be delighted and inspired by these beautifully wrought personal reflections on concrete things. "A Spectator contains many insights from watching theatrical performance, but its greatest accomplishment is its practice of ekphrasis. Adopting a highly dramatic form for his literary account of theatrical events, Brask offers an ongoing behind-the-scenes look at how one might attend to a work of performed art, as well as a fine example of the affect of dramatic writing. A Spectator offers an engaging series of reflections from an engaged spectator with a playwrights pen." Reviewed by AOM
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The Brimming Bards,the maiden literary venture of Anglo-Odia International Poetic Group headed by honourable poet Mr Prafulla Kumar Sahu, is a florilegium of poems by both the young and the veteran poets of the world with lucid, sweet and evocative encapsulations embellished with rich figurative language yet alluring for its comparatively simple diction as a whole.The themes of the poems decorated in the gallery of this poetic art deal with various human emotions and the world within and without with superb poetic elegance to entice its readers for a true pleasure of reading.
Daniel Meyer-Dinkgräfe and co-authors take the exploration of the subjective dimension of theatre, its spiritual context, its relation to consciousness and natural law, further than ever before, thanks to the context provided by the thinking of German geobiologist Hans Binder. We present relevant aspects of Binder’s approach as precisely as possible, then take Binder’s approach for granted to tease out the implications of that approach to the issues of theatre, including nostalgia, intercultural theatre, theatre criticism, dealing with demanding roles, the canon, theatre and philosophy, digital performance, practice as research, and applied theatre. Overall, the book proposes an overarc...