19 products were found matching your search for Modes of Esports Engagement in 1 shops:

Experimental Modes of Civic Engagement in Civic Tech is an investigation into what it means to build civic technology with, not for, real people and real communities. It answers the question, "What's the difference between sentiment and action?" The project was conducted by Laurenellen McCann, and it deepens her work in needs- responsive, community-driven processes for creating technology for public good. This is a project of the Smart Chicago Collaborative, a civic organization devoted to improving lives in Chicago through technology. It was funded by a Knight Community Information Challenge Deep Dive grant given to The Chicago Community Trust by the John S. and James L. Knight Foundation.

Modes of Thinking for Qualitative Data Analysis argues for engagement with the conceptual underpinnings of five prominent analytical strategies used by qualitative researchers: Categorical Thinking, Narrative Thinking, Dialectical Thinking, Poetical Thinking, and Diagrammatical Thinking. By presenting such disparate modes of research in the space of a single text, Freeman not only draws attention to the distinct methodological and theoretical contributions of each, she also establishes a platform for choosing among particular research strategies by virtue of their strengths and limitations. Experienced qualitative researchers, novices, and graduate students from many disciplines will gain new insight from the theory-practice relationship of analysis advanced in this text.

Modes of Thinking for Qualitative Data Analysis argues for engagement with the conceptual underpinnings of five prominent analytical strategies used by qualitative researchers: Categorical Thinking, Narrative Thinking, Dialectical Thinking, Poetical Thinking, and Diagrammatical Thinking. By presenting such disparate modes of research in the space of a single text, Freeman not only draws attention to the distinct methodological and theoretical contributions of each, she also establishes a platform for choosing among particular research strategies by virtue of their strengths and limitations. Experienced qualitative researchers, novices, and graduate students from many disciplines will gain new insight from the theory-practice relationship of analysis advanced in this text.

A seminal text in literary theory available in English for the first timeLegend, saga, myth, riddle, saying, case, memorabile, fairy tale, joke: André Jolles understands each of these nine “simple forms” as the reflection in language of a distinct mode of human engagement with the world and thus as a basic structuring principle of literary narrative. Published in German in 1929 and long recognized as a classic of genre theory, Simple Forms is the first English translation of a significant precursor to structuralist and narratological approaches to literature. Like Vladimir Propp’s Morphology of the Folktale, with which it is often compared, Jolles’s work is not only foundational for the later development of genre theory but is of continuing relevance today. A major influence on literary genre studies since its publication, Simple Forms is finally available in English.

Recent literary criticism, along with academic culture at large, has stressed collaboration as essential to textual creation and sociability as a literary and academic virtue. Solitude and Speechlessness proposes an alternative understanding of writing with a complementary mode of reading: literary engagement, it suggests, is the meeting of strangers, each in a state of isolation. The Renaissance authors discussed in this study did not necessarily work alone or without collaborators, but they were uncertain who would read their writings and whether those readers would understand them.These concerns are represented in their work through tropes, images, and characterizations of isolation. The figure of the isolated, misunderstood, or misjudged poet is a preoccupation that relies on imagining the lives of wandering and complaining youths, eloquent melancholics, exemplary hermits, homeless orphans, and retiring stoics; such figures acknowledge the isolation in literary experience. As a response to this isolation of literary connection, Solitude and Speechlessness proposes an interpretive mode it defines as strange reading: a reading that merges comprehension with indeterminacy and the imaginative work of interpretation with the recognition of historical difference.

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. In the first part of the book Nicholas Wolterstorff asks why philosophers have concentrated on just this one mode of engagement. The answer he proposes is that almost all philosophers have accepted what the author calls the grand narrative concerning art in the modern world. It is generally agreed that in the early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff argues that the grand narrative has to be rejected as not fitting the facts. Wolterstorff then offers an alternative framework for thinking about the arts. Central to the alternative framework that he proposes are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. He goes on to use this framework to analyse in some detail five distinct social practices of art and the meaning that works have within those practices: the practice of memorial art, of art for veneration, of social protest art, of works songs, and of recent art-reflexive art.

In this comprehensive book you will learn the disarming techniques of over 30 different styles of Eskrima, Kali, Arnis and Kabaroan, including their essential principles, supporting structures, ranges and modes of engagement, positional gates, footwork methods, joint control strategies and grip release concepts. This masterful text contains 250 pages, 950 photographs, 140 techniques, 35 styles, and 70 legends and masters of Filipino martial arts. Don’t miss your chance to see the art as performed by its legends. Some of the styles featured include: Arnis Lanada Arnis Tendencia Babao Arnis Bakbakan Kali Balintawak Escrima Biñas Dynamic Arnis Black Eagle Arnis Eskrima D’Katipunan Arnis DeCuerdas-Diestro Eskrima Dekiti Tirsia Siradas Arnis Del Mar Kali-Escrima Derobio Escrima Doce Pares Multi Style Eskrima Eskabo Daan Estalilla Kabaroan Eskrima Garimot Arnis Inayan Eskrima Inosanto Kali Integrated Eskrima Kalis Ilustrisimo Lameco Eskrima Lapu-Lapu Arnis Latosa Escrima Lightning Scientific Arnis Modern Arnis Moro-Moro Orabes Heneral Pambuan Arnis Rapid Arnis San Miguel Eskrima Sayas-Lastra Arnis Sayoc Kali Serrada Escrima Siete Palo Arnis Vee Arnis Jitsu and more... Some of the featured masters include... Alejandro Abrian Rogelio Alberto Dan Anderson Issing Atillo Narrie Babao Abondio Baet Ron Balicki Michael Bates Herminio Binas Robert Castro Anthony Davis Mike Del Mar Tony Diego Ramiro Estalilla Bram Frank Rey Galang Art Gonzalez Antonio Ilustrisimo Jason Inay Diana Lee Inosanto Porferio Lanada Eddie Lastra Rene Latosa Dan Medina Carlos Navarro Pat O’Malley Isidrio Pambuan Ely Pasco Remy Presas Ramon Rubia Ron Saturno Edgar Sulite Sam Tendencia Darren Tibon Jerson Tortal Jose Vinas Florendo Visitacion And Many More...

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. In the first part of the book Nicholas Wolterstorff asks why philosophers have concentrated on just this one mode of engagement. The answer he proposes is that almost all philosophers have accepted what the author calls the grand narrative concerning art in the modern world. It is generally agreed that in the early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff argues that the grand narrative has to be rejected as not fitting the facts. Wolterstorff then offers an alternative framework for thinking about the arts. Central to the alternative framework that he proposes are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. He goes on to use this framework to analyse in some detail five distinct social practices of art and the meaning that works have within those practices: the practice of memorial art, of art for veneration, of social protest art, of works songs, and of recent art-reflexive art.

Photography was introduced to China in the 1840s through the West’s engagement in the Opium Wars and the subsequent reforms of Chinese statesmen. As a result, traditional modes of expression were dramatically transformed. Uncovered here is a captivating visual history of China during photography’s first century, from the late Qing period to Republican Shanghai and wartime Chongqing. Chinese export painters learned and adapted the medium of photography by grafting the new technology onto traditional artistic conventions—employing both brush and shutter. Ultimately, both Chinese and Western photographers were witnesses to and agents of dynamic cultural change.The essays in this volume shed new light on the birth of a medium. Jeffrey Cody and Frances Terpak, together with Edwin Lai, discuss the medium’s evolution, commercialization, and dissemination; Wu Hung examines the invention of a portrait style through the lens of Milton Miller; Sarah Fraser investigates how this style shaped China’s national image; and Wen-hsin Yeh addresses the camera’s role in Republican Shanghai and wartime Chongqing. The catalogue accompanies an exhibition of the same name at the J. Paul Getty Museum from February 8 to May 1, 2011.

Recent literary criticism, along with academic culture at large, has stressed collaboration as essential to textual creation and sociability as a literary and academic virtue. Solitude and Speechlessness proposes an alternative understanding of writing with a complementary mode of reading: literary engagement, it suggests, is the meeting of strangers, each in a state of isolation. The Renaissance authors discussed in this study did not necessarily work alone or without collaborators, but they were uncertain who would read their writings and whether those readers would understand them.These concerns are represented in their work through tropes, images, and characterizations of isolation. The figure of the isolated, misunderstood, or misjudged poet is a preoccupation that relies on imagining the lives of wandering and complaining youths, eloquent melancholics, exemplary hermits, homeless orphans, and retiring stoics; such figures acknowledge the isolation in literary experience. As a response to this isolation of literary connection, Solitude and Speechlessness proposes an interpretive mode it defines as strange reading: a reading that merges comprehension with indeterminacy and the imaginative work of interpretation with the recognition of historical difference.

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. In the first part of the book Nicholas Wolterstorff asks why philosophers have concentrated on just this one mode of engagement. The answer he proposes is that almost all philosophers have accepted what the author calls the grand narrative concerning art in the modern world. It is generally agreed that in the early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff argues that the grand narrative has to be rejected as not fitting the facts. Wolterstorff then offers an alternative framework for thinking about the arts. Central to the alternative framework that he proposes are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. He goes on to use this framework to analyse in some detail five distinct social practices of art and the meaning that works have within those practices: the practice of memorial art, of art for veneration, of social protest art, of works songs, and of recent art-reflexive art.

In this comprehensive book you will learn the disarming techniques of over 30 different styles of Eskrima, Kali, Arnis and Kabaroan, including their essential principles, supporting structures, ranges and modes of engagement, positional gates, footwork methods, joint control strategies and grip release concepts. This masterful text contains 250 pages, 950 photographs, 140 techniques, 35 styles, and 70 legends and masters of Filipino martial arts. Don’t miss your chance to see the art as performed by its legends. Some of the styles featured include: Arnis Lanada Arnis Tendencia Babao Arnis Bakbakan Kali Balintawak Escrima Biñas Dynamic Arnis Black Eagle Arnis Eskrima D’Katipunan Arnis DeCuerdas-Diestro Eskrima Dekiti Tirsia Siradas Arnis Del Mar Kali-Escrima Derobio Escrima Doce Pares Multi Style Eskrima Eskabo Daan Estalilla Kabaroan Eskrima Garimot Arnis Inayan Eskrima Inosanto Kali Integrated Eskrima Kalis Ilustrisimo Lameco Eskrima Lapu-Lapu Arnis Latosa Escrima Lightning Scientific Arnis Modern Arnis Moro-Moro Orabes Heneral Pambuan Arnis Rapid Arnis San Miguel Eskrima Sayas-Lastra Arnis Sayoc Kali Serrada Escrima Siete Palo Arnis Vee Arnis Jitsu and more... Some of the featured masters include... Alejandro Abrian Rogelio Alberto Dan Anderson Issing Atillo Narrie Babao Abondio Baet Ron Balicki Michael Bates Herminio Binas Robert Castro Anthony Davis Mike Del Mar Tony Diego Ramiro Estalilla Bram Frank Rey Galang Art Gonzalez Antonio Ilustrisimo Jason Inay Diana Lee Inosanto Porferio Lanada Eddie Lastra Rene Latosa Dan Medina Carlos Navarro Pat O’Malley Isidrio Pambuan Ely Pasco Remy Presas Ramon Rubia Ron Saturno Edgar Sulite Sam Tendencia Darren Tibon Jerson Tortal Jose Vinas Florendo Visitacion And Many More...

In Mastering Eskrima Disarms you will learn the disarming techniques of over 30 different styles of Eskrima, Kali, Arnis and Kabaroan, including 22 Supporting Structures and 9 Essential Principles of Effective Disarms, the 3 Ranges and 4 Modes of Engagement, 2 Positional Gates, 3 Joint Control Concepts, 5 Footwork Methods, and 5 Grip Release Concepts most essential to mastering Eskrima disarms. This masterful text contains 935 photographs illustrating 135 techniques from 33 styles of Filipino martial arts as demonstrated by dozens of its greatest legends. Some of the styles featured include: Arnis Lanada, Arnis Tendencia, Babao Arnis, Bakbakan Kali, Balintawak Escrima, Biñas Dynamic Arnis,Black Eagle Arnis Eskrima, D'Katipunan Arnis, DeCuerdas-Diestro Eskrima, Dekiti Tirsia Siradas Arnis, Del Mar Kali-Escrima, Derobio Escrima, Doce Pares Multi Style Eskrima, Eskabo Daan, Estalilla Kabaroan Eskrima, Garimot Arnis, Inayan Eskrima, Inosanto Kali, Integrated Eskrima, Kalis Ilustrisimo, Lameco Eskrima, Lapu-Lapu Arnis, Latosa Escrima, Lightning Scientific Arnis, Modern Arnis, Moro-Moro Orabes Heneral, Pambuan Arnis, Rapid Arnis, San Miguel Eskrima, Sayas-Lastra Arnis, Sayoc Kali, Serrada Escrima, Siete Palo Arnis, Vee Arnis Jitsu, and more...

In Mastering Eskrima Disarms you will learn the disarming techniques of over 30 different styles of Eskrima, Kali, Arnis and Kabaroan, including 22 Supporting Structures and 9 Essential Principles of Effective Disarms, the 3 Ranges and 4 Modes of Engagement, 2 Positional Gates, 3 Joint Control Concepts, 5 Footwork Methods, and 5 Grip Release Concepts most essential to mastering Eskrima disarms. This masterful text contains 935 photographs illustrating 135 techniques from 33 styles of Filipino martial arts as demonstrated by dozens of its greatest legends. Some of the styles featured include: Arnis Lanada, Arnis Tendencia, Babao Arnis, Bakbakan Kali, Balintawak Escrima, Biñas Dynamic Arnis,Black Eagle Arnis Eskrima, D'Katipunan Arnis, DeCuerdas-Diestro Eskrima, Dekiti Tirsia Siradas Arnis, Del Mar Kali-Escrima, Derobio Escrima, Doce Pares Multi Style Eskrima, Eskabo Daan, Estalilla Kabaroan Eskrima, Garimot Arnis, Inayan Eskrima, Inosanto Kali, Integrated Eskrima, Kalis Ilustrisimo, Lameco Eskrima, Lapu-Lapu Arnis, Latosa Escrima, Lightning Scientific Arnis, Modern Arnis, Moro-Moro Orabes Heneral, Pambuan Arnis, Rapid Arnis, San Miguel Eskrima, Sayas-Lastra Arnis, Sayoc Kali, Serrada Escrima, Siete Palo Arnis, Vee Arnis Jitsu, and more...

How do writers, marginalized by the authoritarian state in which they live, intervene in the political process? They cannot do so directly because they are not politicians. Other modes of engagement are possible, however. A writer may take up arms and become a revolutionary. Or, as Max Weber did, he may try to influence politics by playing the role of constitutional advisor, or by seeking to shape the dominant language in which his contemporaries think. Weber sought to reconstitute the political and social vocabulary of his day.Part I of Caesarism, Charisma and Fate examines a great writer's political passions and the linguistic creativity they generated. Specially, it is an analysis of the manner in which Weber reshaped the nineteenth century idea of "Caesarism," a term traditionally associated with the authoritarian populism of Napoleon III and Bismarck, and transmuted it into a concept that was either neutral or positive. The coup de grace of this alchemy was to make Caesarism reappear as charisma. In that transformation, a highly contentious political concept, suffused with disapproval and anxiety, was naturalized into an ideal type of universal value-free sociology.Part II augments Weber's ideas for the modem age. A recurrent preoccupation of Weber's writings was human "fate," a condition that evokes the pathos of choice, the political meaning of death, and the formation of national solidarity. Peter Baehr, marrying Weber and Durkheim, fashions a new concept, "community of fate," for sociological theory. Communities of fate--such as the Warsaw Ghetto or Hong Kong dealing with the Severe Acute Respiratory Syndrome (SARS) crisis--are embattled social sites in which people face the prospect of collective death. They cohere because of an intense and broadly shared focus of attention on a common plight. Weber's work helps us grasp the nature of such communities, the mechanisms that produce them, and, not least, their dramatic consequences.

The Elizabethan theatrical repertory was enthralled with the era's martial discourses and beset by its blinding visions. In her richly historicized account of the theater's engagement with "modern" warfare, Patricia Cahill juxtaposes the new military technologies and new modes of martial abstraction with the performance of war-suffused dramas by Shakespeare, Marlowe, and their contemporaries. Equally important, she shows that even as early-modern playwrights engaged cutting-edge military practices, they routinely trafficked in phenomena resistant to the new rationalities, conjuring up a domain of eerie sounds, uncanny figures, and haunted temporalities. By going beyond the usual protocols of historicist criticism and emphasizing the complex dynamics of theatrical modes of address, this wide-ranging study investigates the representation of early-modern war trauma and recovers for us a compelling sense of the intimate relationship between affect and intellect on the Renaissance stage. Intervening in ongoing conversations about the drama's role in shaping the cultural imaginary, Unto the Breach shows that, in an era of escalating militarization, England's first commercial theaters offered their audiences something of incalculable value--namely, a space for the performance and "working through" of what might otherwise remain psychically unbearable in war's violence.

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. In the first part of the book Nicholas Wolterstorff asks why philosophers have concentrated on just this one mode of engagement. The answer he proposes is that almost all philosophers have accepted what the author calls the grand narrative concerning art in the modern world. It is generally agreed that in the early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff argues that the grand narrative has to be rejected as not fitting the facts. Wolterstorff then offers an alternative framework for thinking about the arts. Central to the alternative framework that he proposes are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. He goes on to use this framework to analyse in some detail five distinct social practices of art and the meaning that works have within those practices: the practice of memorial art, of art for veneration, of social protest art, of works songs, and of recent art-reflexive art.

In Koch's Solitude, both solitude and engagement emerge as primary modes of human experience, equally essential for human completion. This work draws upon the vast corpus of literary reflections on solitude, especially Lao Tze, Sappho, Plotinus, Augustine, Petrarch, Montaigne, Goethe, Shelley, Emerson, Thoreau, Whitman and Proust.

Photography was introduced to China in the 1840s through the West’s engagement in the Opium Wars and the subsequent reforms of Chinese statesmen. As a result, traditional modes of expression were dramatically transformed. Uncovered here is a captivating visual history of China during photography’s first century, from the late Qing period to Republican Shanghai and wartime Chongqing. Chinese export painters learned and adapted the medium of photography by grafting the new technology onto traditional artistic conventions—employing both brush and shutter. Ultimately, both Chinese and Western photographers were witnesses to and agents of dynamic cultural change.The essays in this volume shed new light on the birth of a medium. Jeffrey Cody and Frances Terpak, together with Edwin Lai, discuss the medium’s evolution, commercialization, and dissemination; Wu Hung examines the invention of a portrait style through the lens of Milton Miller; Sarah Fraser investigates how this style shaped China’s national image; and Wen-hsin Yeh addresses the camera’s role in Republican Shanghai and wartime Chongqing. The catalogue accompanies an exhibition of the same name at the J. Paul Getty Museum from February 8 to May 1, 2011.