The intersection of the religious and the corporate can be traced to first century Rome, and Paul's letters to Christian Jews in Corinth. In the second half of the book, she reaches North America and considers Christian corporate fellowship in the years preceding the American Revolution. In the decades following ratification of the US Constitution, religious organizations led the way as models of corporate growth.
Eighteenth-century economic and political developments forced American churches to back away from oversight of commercial operations and concentrate more on the formationof individual character, encouraging individuals to transfer to business the lessons of moral responsibility and common purpose learned in church.
While commercial outlets faced daunting headwinds as a result of spiraling debt, weak banks, lack of financial regulation, rampant speculation,widespread counterfeiting, and ruinous embargoes, religious organizations set a fast pace of growth and helped many Americans absorb the shocks of economic turbulence by maintaining networks of social support.
The privatization of religion enabled advocates for religion to operate more independently and creatively than under religious establishment; this independence fostered innovation, competition, and organizational growth.
Left more to their own devices than under British law, religious groups inearly nineteenth-century America enjoyed new freedom as private corporations. This unprecedented autonomy facilitated religious growth and transformation on a massive scale, as religious groups devised new forms of communal governance and discipline, and new means of broadcasting their messagesthrough education, print media technology, public events, and ingenious event-planning.
The book's conclusion presents an overview of the development of modern corporations since the late-nineteenth century, highlighting religion's evolution in a society dominated by commercial incorporation.
This beautifully illustrated book conveys the centrality of costume to live performance. Finding associations between contemporary practices and historical manifestations, costume is explored in six thematic chapters, examining the transformative ritual of costuming; choruses as reflective of society; the grotesque, transgressive costume; the female sublime as emancipation; costume as sculptural art in motion; and the here-and-now as history.
Viewing the material costume as a crucial aspect in the preparation, presentation and reception of live performance, the book brings together costumed performances through history. These range from ancient Greece to modern experimental productions, from medieval theatre to modernist dance, from the 'fashion plays' to contemporary Shakespeare, marking developments in both culture and performance.
Revealing the relationship between dress, the body and human existence, and acknowledging a global as well as an Anglo and Eurocentric perspective, this book shows costume's ability to cross both geographical and disciplinary borders. Through it, we come to question the extent to which the material costume actually co-authors the performance itself, speaking of embodied histories, states of being and never-before imagined futures, which come to life in the temporary space of the performance.
Arguing that social dance haunted the interwar imagination, Zimring reveals the powerful figurative importance of music and dance, both in the aftermath of war, and during Britain's entrance into cosmopolitan modernity and the modernization of gender relations. Analysing paintings, films, memoirs, ballet, documentary texts and writings by Modernist authors, Zimring illuminates the ubiquitous presence of social dance in the British imagination during a time of cultural transition and recuperation.
The dream of a pride and a mate isn't supposed to cost him everything. Snow leopard shifter Blair Kincade has spent a lifetime using football to fill the gaping hole in his soul. Being an alpha without a pride sucks. As does being lied to about it his entire life by none other than the one he should've been able to trust: his adopted father.
Meeting a visiting Russian snow leopard turns into finding the last survivors of his destroyed pride. And the possibility of a mate bond with a woman strong enough to stand by him. Ballerina Oksana Bukovskaya has come to Colorado with one goal in mind: to save her adopted father, who's slowly losing his memory. There have been one too many attempts on his life, and she's not leaving until he's safe in the Boulder pride lands.
Falling for an alpha she thought dead is an unexpected complication. Uncovering the pieces of what happened to their pride reveals Ares's fingerprints all over a slaughter no one remembers. Plus he's sent one of his assassins after the only man who could've stopped it. Finding the answers--and the killer--is the only way Blair can protect his pride. Want more? Advanced embedding details, examples, and help! It is a storytelling art passed on from teacher to student. A ballerina dancing today is a link in a long chain of dancers stretching back to sixteenth-century Italy and France: Her graceful movements recall a lost world of courts, kings, and aristocracy, but her steps are also marked by the dramatic changes in dance and culture that followed.
From ballet's origins in the Renaissance and the codification of its basic steps and positions under France's Louis XIV himself an avid dancer , the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Jennifer Homans, a historian and critic who was also a professional dancer, traces the evolution of technique, choreography, and performance in clear prose, drawing readers into the intricacies of the art with vivid descriptions of dances and the artists who made them.
France and the classical origins of ballet -- Kings of dance -- The Enlightenment and the story ballet -- The French Revolution in ballet -- Romantic illusions and the rise of the ballerina -- Scandinavian orthodoxy : the Danish style -- Italian heresy : pantomime, virtuosity, and Italian ballet -- pt. There are no reviews yet. The Becoming Nora Roberts. Fear No Evil James Patterson. Mercy David Baldacci.
Flying Angels Danielle Steel. The Dark Hours Michael Connelly. Cytonic Brandon Sanderson. The Judge's List John Grisham. The Awakening Nora Roberts. The Lincoln Highway Amor Towles. Never Ken Follett. Embassy of the Empire J. Robert Kennedy. Victor Sybil Bartel.
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