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Shakespeare has been a central figure in German literature and theatre. This book tells the story of Shakespeare in the German-speaking theatre against the background of German culture and politics in the twentieth century. It follows the earlier volume by Simon Williams on the reception of Shakespeare during the previous 300 years (Shakespeare on the German Stage, 1586-1914). Hortmann concentrates on the two most important and fruitful periods: the years of the Weimar Republic (1919-1933) and the turbulent decades of the sixties and seventies, when the German theatre was revitalised by a stormy marriage of avant-garde art and revolutionary politics. A section by Maik Hamburger covers developments in the theatres of the German Democratic Republic. Hortmann focuses on the most representative and colourful directors and actors, describing and illustrating individual productions as examples of particular trends or movements.
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How can we develop the sensitivity necessary for playing music or making crafts? How can teachers make their lessons interesting? In what ways can consumers avoid undue influence? How do we acquire refined tastes, or come to believe what we want to believe? Addressing these issues and providing an account for tackling personal and societal problems, Rolf Reber combines insights from psychology, philosophy, and education to introduce the concept of 'critical feeling'. While many people are familiar with the concept of critical thinking, critical feeling denotes the strategic use of feelings in order to optimize an outcome. Reber discusses the theoretical and empirical foundations of critical feeling and provides an overview of applications, including well-being, skill learning, personal relationships, business, politics, school, art, morality, and religion. This original and thought-provoking study will interest a broad range of researchers, students, and practitioners.
No. 1- directories of the society's members.