This volume explores the constitutive role played by space in the performance of Kutiyattam. The only surviving form of Sanskrit theatre, Kutiyattam is distinctive in terms of its performance conventions and its unique culture of extensive elaboration and interpretation. Drawing upon the concepts of phenomenology on the processes of perception, particularly on the works of Edmund Husserl, Martin Heidegger and Maurice Merleau-Ponty, it analyses the role of space in the communicative structures of performance of Kutiyattam and its contribution to the production of meaning in theatre, especially in the context of contemporary theatre. The book explores the theatrical event as a phenomenon that comes into existence through a triangular relationship among the ‘ways of being’ of the performers, the ‘ways of seeing’ of the audience, and the space which brings them together. Based on this formulation, Kutiyattam is approached as a ‘theatre of elaboration,’ made possible by the ‘intimate,’ ‘proximal’ ways of seeing of the audience, in the particular theatrical space of the kūttampalaṃs, the temple theatres, where Kutiyattam has customarily been performed for more than five centuries. This volume will be of great interest to scholars and researchers of cultural studies, theatre and performance studies, cultural anthropology, phenomenology and South Asian studies.

The essays in Ways of Seeing, Ways of Speaking: The Integration of Rhetoric and Vision in Constructing the Real explore the intersections among image, word, and visual habits in shaping realities and subjectivities.

This book contributes to the re-emerging field of 'theology through the arts' by proposing a way of approaching one of the most challenging theological concepts - divine timelessness - through the principle of construction of space in the icon. One of the main objectives of this book is to discuss critically the implications of 'reverse perspective', which is especially characteristic of Byzantine and Byzantining art. Drawing on the work of Pavel Florensky, one of the foremost Russian religious philosophers at the beginning of the 20th century, Antonova shows that Florensky's concept of 'supplementary planes' can be used productively within a new approach to the question. Antonova works up new criteria for the understanding of how space and time can be handled in a way that does not reverse standard linear perspective (as conventionally claimed) but acts in its own way to create eternalised images which are not involved with perspective at all. Arguing that the structure of the icon is determined by a conception of God who exits in past, present, and future, simultaneously, Antonova develops an iconography of images done in the Byzantine style both in the East and in the West which is truer to their own cultural context than is generally provided for by western interpretations. This book draws upon philosophy, theology and liturgy to see how relatively abstract notions of a deity beyond time and space enter images made by painters.

Mario Betti strives to make sense of the world through different lenses framed as 12 archetypes; Phenomonalism, Sensualism, Materialism, Mathematism, Rationalism, Idealism, Psychism, Pneumatism, Monadism, Dynamism, Realism and Humanus.Betti draws on the research of Rudolph Steiner and his twelvefold typology of human and cosmic thought to explore and validate each world view from its own unique perspective. In this way he means to transform dogmatism and enable a deeper dialogue. The book includes a study guide, World View by World View, which comprises of templates for lesson structures and questions for discussion put together by the author Mario Betti and Kathelijne Drenth of the Cloverleaf Foundation, The Netherlands.

Art interprets the visible world. Physics charts its unseen workings. The two realms seem completely opposed. But consider that both strive to reveal truths for which there are no words––with physicists using the language of mathematics and artists using visual images. In Art & Physics, Leonard Shlain tracks their breakthroughs side by side throughout history to reveal an astonishing correlation of visions. From the classical Greek sculptors to Andy Warhol and Jasper Johns, and from Aristotle to Einstein, artists have foreshadowed the discoveries of scientists, such as when Monet and Cezanne intuited the coming upheaval in physics that Einstein would initiate. In this lively and colorful narrative, Leonard Shlain explores how artistic breakthroughs could have prefigured the visionary insights of physicists on so many occasions throughout history. Provicative and original, Art & Physics is a seamless integration of the romance of art and the drama of science––and an exhilarating history of ideas.

Essays in this work examine treatments of history in science fiction and fantasy television programs from a variety of disciplinary and methodological perspectives. Some essays approach science fiction and fantasy television as primary evidence, demonstrating how such programs consciously or unconsciously elucidate persistent concerns and enduring ideals of a past era and place. Other essays study television as secondary evidence, investigating how popular media construct and communicate narratives about past events.

INSTANT NEW YORK TIMES BESTSELLER As you read these words, copies of you are being created. Sean Carroll, theoretical physicist and one of this world’s most celebrated writers on science, rewrites the history of twentieth-century physics. Already hailed as a masterpiece, Something Deeply Hidden shows for the first time that facing up to the essential puzzle of quantum mechanics utterly transforms how we think about space and time. His reconciling of quantum mechanics with Einstein’s theory of relativity changes, well, everything. Most physicists haven’t even recognized the uncomfortable truth: Physics has been in crisis since 1927. Quantum mechanics has always had obvious gaps—which have come to be simply ignored. Science popularizers keep telling us how weird it is, how impossible it is to understand. Academics discourage students from working on the "dead end" of quantum foundations. Putting his professional reputation on the line with this audacious yet entirely reasonable book, Carroll says that the crisis can now come to an end. We just have to accept that there is more than one of us in the universe. There are many, many Sean Carrolls. Many of every one of us. Copies of you are generated thousands of times per second. The Many-Worlds theory of quantum behavior says that every time there is a quantum event, a world splits off with everything in it the same, except in that other world the quantum event didn't happen. Step-by-step in Carroll's uniquely lucid way, he tackles the major objections to this otherworldly revelation until his case is inescapably established. Rarely does a book so fully reorganize how we think about our place in the universe. We are on the threshold of a new understanding—of where we are in the cosmos, and what we are made of.