Spielraum: Teaching German through Theater is a sourcebook and guide for teaching German language and culture, as well as social, cross-cultural, and multi-ethnic tensions, through dramatic texts. This book presents a range of theoretical and practical resources for the growing number of teachers who wish to integrate drama and theater into their foreign-language curriculum. As such, it may be adopted as a flexible tool for teachers seeking ways to reinvigorate their language classrooms through drama pedagogy; to connect language study to the study of literature and culture; to inspire curricular rejuvenation; or to embark on full-scale theater productions. Focusing on specific dramatic works from the rich German-speaking tradition, each chapter introduces unique approaches to a play, theme, and genre, while also taking into account practical issues of performance.

Play is one of humanity's straightforward yet deceitful ideas: though the notion is unanimously agreed upon to be universal, used for man and animal alike, nothing defines what all its manifestations share, from childish playtime to on stage drama, from sporting events to market speculation. Within the author's anthropological field of work (Mongolia and Siberia), playing holds a core position: national holidays are called "Games," echoing in that way the circus games in Ancient Rome and today's Olympics. These games convey ethical values and local identity. Roberte Hamayon bases her analysis of the playing spectrum on their scrutiny. Starting from fighting and dancing, encompassing learning, interaction, emotion and strategy, this study heads towards luck and belief as well as the ambiguity of the relation to fiction and reality. It closes by indicating two features of play: its margin and its metaphorical structure. Ultimately revealing its consistency and coherence, the author displays play as a modality of action of its own. "Playing is no 'doing' in the ordinary sense" once wrote Johan Huizinga. Isn't playing doing something else, elswhere and otherwise ?

Proving fruitful in various applications throughout its two millennia of predominance, the rhetorical téchne appears to have entertained a particularly symbiotic interrelation with drama. With contributions from (among others) a Classicist, historical, linguistic, musicological, operatic, cultural and literary studies perspective, this publication offers interdisciplinary assessments of specific reciprocities between the system of rhetoric and dramatic works: tracing the longue durée of this nexus—highlighting its Ancient foundations, its various Early Modern formations, as well as certain configurations enduring to this day—enables describing shifting degrees of rhetoricity; approaching it from an interdisciplinary viewpoint facilitates focusing on the often sidelined rhetorical phenomena located beyond the textual plane, specifically memoria and actio; tackling this interchange from various viewpoints and with diverse emphases, a long-lasting and highly prolific cross-fertilization between drama and rhetoric is rendered visible. In tendering a balanced panorama of both detailed case studies and descriptive overviews, this volume also points toward terrain yet to be charted in the scholarship to come. The volume was prepared in co-operation with the ERC Advanced Grant Project Early Modern European Drama and the Cultural Net (DramaNet).

From the 23rd to 26th of November 2009 in La Palma island, in the Canaries, the Comparative Education Society in Europe (CESE) organized an international symposium entitled PISA under Examination: Changing Knowledge, Changing Tests, and Changing Schools. During four days seventeen leading scholars of Europe and America presented their contributions to debate the different problematiques of the remarkable phenomenon represented by the OECD Programme for International Student Assessment or PISA. PISA is not merely an educational event. It is also a media circus which involves the public rehearsal for reasons for failure or success; and even, in some cases, public and political and academic explanations about why 'failure' was not really that, and why 'success' was not really that either. At the centre of all these indications, we find the growing influence of international agencies on education and schooling which is decisively contributing to a marketisation of the field of education, in the context of an increasingly multilevel and fragmented arena for educational governance based on the formulation, the regulation and the transnational coordination and convergence of policies, buttressed at the same time by the diffusion of persuasive discursive practice. Organized in four sections entitled The Comparative Challenges of the OCDE PISA Programme, PISA and School Knowledge, The Assessment of PISA, School Effectiveness and the Socio-cultural Dimension, PISA and the Immigrant Student Question, and Extreme Visions of PISA: Germany and Finland, the contributions of this book offers a comprehensive approach of all these challenging and significant issues written from different and distinct research and academic traditions.

Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), this essential handbook synthesizes existing research literature, reflects on the past, and contributes to shaping the future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each focusing on a major area or issue in arts education research.

Kracauer. Film, medium of a disintegrating world. -- Curious Americanism. -- Benjamin. Actuality, antinomies. -- Aura: the appropriation of a concept. -- Mistaking the moon for a ball. -- Micky-maus. -- Room-for-play. -- Adorno. The question of film aesthetics. -- Kracauer in exile. Theory of film.

Michel de Certeau considers the uses to which social representation and modes of social behavior are put by individuals and groups, describing the tactics available to the common man for reclaiming his own autonomy from the all-pervasive forces of commerce, politics, and culture. In exploring the public meaning of ingeniously defended private meanings, de Certeau draws on an immense theoretical literature in analytic philosophy, linguistics, sociology, semiology, and anthropology--to speak of an apposite use of imaginative literature.

In recent years, the field of Memory Studies has emerged as a key approach in the Humanities and Social Sciences, and has increasingly shown its ability to open new windows on Nordic Studies as well. The entries in this book document the work-to-date of this approach on the pre-modern Nordic world (mainly the Viking Age and the Middle Ages, but including as well both earlier and later periods). Given that Memory Studies is an ever expanding critical strategy, the approximately eighty contributors in this volume also discuss the potential for future research in this area. Topics covered range from texts to performance to visual and other aspects of material culture, all approached from within an interdisciplinary framework. International specialists, coming from such relevant fields as archaeology, mythology, history of religion, folklore, history, law, art, literature, philology, language, and mediality, offer assessments on the relevance of Memory Studies to their disciplines and show it at work in case studies. Finally, this handbook demonstrates the various levels of culture where memory had a critical impact in the pre-modern North and how deeply embedded the role of memory is in the material itself.

“Toward a Ludic Architecture†is a pioneering publication, architecturally framing play and games as human practices in and of space. Filling the gap in literature, Steffen P. Walz considers game design theory and practice alongside architectural theory and practice, asking: how are play and games architected? What kind of architecture do they produce and in what way does architecture program play and games? What kind of architecture could be produced by playing and gameplaying?