Combines theme and genre analysis in a study of the Italian author, from her first literary writings in the 1930s to her novels in the 1990s.

An architect's defense of drawing as a way of thinking, even in an age of electronic media. Why would an architect reach for a pencil when drawing software and AutoCAD are a click away? Use a ruler when 3D-scanners and GPS devices are close at hand? In Why Architects Still Draw, Paolo Belardi offers an elegant and ardent defense of drawing by hand as a way of thinking. Belardi is no Luddite; he doesn't urge architects to give up digital devices for watercolors and a measuring tape. Rather, he makes a case for drawing as the interface between the idea and the work itself. A drawing, Belardi argues, holds within it the entire final design. It is the paradox of the acorn: a project emerges from a drawing—even from a sketch, rough and inchoate—just as an oak tree emerges from an acorn. Citing examples not just from architecture but also from literature, chemistry, music, archaeology, and art, Belardi shows how drawing is not a passive recording but a moment of invention pregnant with creative possibilities. Moving from the sketch to the survey, Belardi explores the meaning of measurement in a digital era. A survey of a site should go beyond width, height, and depth; it must include two more dimensions: history and culture. Belardi shows the sterility of techniques that value metric exactitude over cultural appropriateness, arguing for an “informed drawing” that takes into consideration more than meters or feet, stone or steel. Even in the age of electronic media, Belardi writes, drawing can maintain its role as a cornerstone of architecture.

Nikolai Evreinov, a major force in the Russian avant-garde theatre, won international fame in the 1920's. His harlequinades were produced by such greats as Dullin in France, Pirandello in Italy, and the Theatre Guild on Broadway. As playwright, director, and theorist, Evreinov anticipated major developments in the twentieth century theatre: metatheatrical plays, environmental staging, and the study of performance through anthropology, ritual, and role-playing in everyday life. Carnicke examines Evreinov's theories in light of the artistry of his plays. She clarifies his most influential ideas and reclaims his central role in modern theatre history.

Thomas Bernhard is widely considered to be one of the most important German playwrights in the post-war era. Highly acclaimed, he has written over twenty plays and novels and gained a reputation as one of Austria’s most controversial authors. Bernhard wrote Heldenplatz in 1988 as a response to the fiftieth anniversary of the Anschluss (annexation) of Austria by Hitler’s Germany. Highly controversial in Austria, the play concerns a Jewish professor who returns to Vienna after the Second World War and discovers that his fellow Austrians are as anti-semitic as ever. ‘Heldenplatz’ is the square in Vienna where the Austrian-born Hitler made his first speech after the Anschluss. In Heldenplatz, Bernhard's final play, he explores the shared isolation of people who have lost their bearings, along with most of their illusions.

First Published in 1962. Routledge is an imprint of Taylor & Francis, an informa company.