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Bennett
Bennett Shepherd wakes up following a heart attack to rediscover an obvious truth: his time on earth is severely limited. Given a harsh prognosis, he struggles to find meaning in his life while coping with a history that plagues his conscious, foregone eras which have regrettably defined him. Bennett is a story about life and death, the meaningful and the meaningless, renewing hope in a reality seen and touched as much as felt. Above all else, the heart of Bennett is a budding friendship that reveals how monumental achievements are often nothing more than small acts of kindness reaching out to the next generation.
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Battle for the White House from Bush to Obama
Anthony Bennett guides us through the events of the four elections of the 21st century, showing how this era of partisanship has reshaped not only presidential nominations and elections, but the American presidency and politics itself.
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Claims of Experience
Why have so many figures throughout American history proclaimed their life stories when confronted by great political problems? The Claims of Experience provides a new theory for what makes autobiography political throughout the history of the United States and today. Across five chapters, Nolan Bennett examines the democratic challenges that encouraged a diverse cast of figures to bear their stories: Benjamin Franklin amid the revolutionary era, Frederick Douglass in the antebellum and abolitionist movements, Henry Adams in the Gilded Age and its anxieties of industrial change, Emma Goldman among the first Red Scare and state opposition to radical speech, and Whittaker Chambers amid the second Red Scare that initiated the anticommunist turn of modernconservatism.These historical figures made what Bennett calls a "claim of experience." By proclaiming their life stories, these authors took back authority over their experiences from prevailing political powers, and called to new community among their audiences. Their claims sought to restore to readers the power to remake and make meaning of their own lives.Whereas political theorists and activists have often seen autobiography to be too individualist or a mere documentary source of evidence, this theory reveals the democratic power that life narratives have offered those on the margins and in the mainstream. If they are successful, claims of experience summon new popular authority to surpass what their authors see as the injustices of prevailing American institutions and identity. Bennett shows through historical study and theorization how thisrenewed appreciation for the politics of life writing elevates these authors' distinct democratic visions while drawing common themes across them. This book offers both a method for understanding the politics of life narrative and a call to anticipate claims of experience as they appeartoday.
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Life of William Sterndale Bennett
First published in 1907, this volume presents the biography of the nineteenth-century English composer Sir William Sterndale Bennett by his son, J. R. Sterndale Bennett. Divided into five parts, the volume traces Bennett's childhood, musical education, his work as a teacher and conductor, and his compositions and honours. Included with the volume are a number of drawings, facsimiles, and photographs, as well as some appendices detailing Bennett's published and manuscript works.
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Between the Lines
In Between the Lines: A Philosophy of Theatre, theatre theorist, Michael Y. Bennett offers a systematic account of theatre--thinking about theatre metaphysically, epistemologically, and ethically. To investigate theatre and its in-between spaces, Bennett introduces some basic ideas about coherence and correspondence and, much more prominently, conversations surrounding subsumption and distinctness in order to better describe theatre as a form of art. Instead of limiting the concept and use of subsumption to suggest that constituent parts are subsumed within a distinct whole, Bennett broadens the concept to claim that many of the properties of a theatrical character and/or a theatrical world are subsumed within the text. Unlike some forms of literary fiction in which a narrator describes the properties of characters in general terms, theatre (particularly for the theatregoer) is largely devoid of distinct properties attributed to theatrical characters. Outside of the fact that theatrical characters speak and perform actions during the time of the play, there are little-to-no specified properties regarding theatrical characters and/or theatrical worlds. In thinking about the conceptual empty spaces of theatre, Bennett investigates three main topics: theatre as an art form, the properties of theatrical characters and theatrical worlds, and the difference between truth and truthfulness in the theatre.
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All in the Cause of Duty
This is the story of one man's forty year odyssey working to help reduce third world world poverty, and give hope to some of the most morginalised and exploited people in the world. Throughout his long career Nicholas Bennett worked in some of the most remote and difficult places in the world, faced frequent coups and revolutions, whilst at the same time raising his family.
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Influx and Efflux
In influx & efflux Jane Bennett pursues a question that was bracketed in her book Vibrant Matter: how to think about human agency in a world teeming with powerful nonhuman influences? “Influx & efflux”—a phrase borrowed from Whitman's "Song of Myself"—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then exit, themselves having been transformed into something new. How to describe the human efforts involved in that process? What kinds of “I” and “we” can live well and act effectively in a world of so many other lively materialities? Drawing upon Whitman, Thoreau, Caillois, Whitehead, and other poetic writers, Bennett links a nonanthropocentric model of self to a radically egalitarian pluralism and also to a syntax and style of writing appropriate to the entangled world in which we live. The book tries to enact the uncanny process by which we “write up” influences that pervade, enable, and disrupt us.
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All Theater Is Revolutionary Theater
All Theater Is Revolutionary Theater is the first book to consider why, in the Western tradition (and only in the Western tradition), theatrical drama is regarded as its own literary or poetic type, when the criteria needed to differentiate drama from other forms of writing do not resemble the criteria by which types of prose or verse are ordinarily distinguished. Through close readings of such playwrights as Beckett, Brecht, Büchner, Eliot, Shaw, Wedekind, and Robert Wilson, Benjamin Bennett looks at the relationship between literature and drama, identifying typical problems in the development of dramatic literature and exploring how the uncomfortable association with theatrical performance affects the operation of drama in literary history.Bennett's historical investigations into theoretical works ranging from Aristotle to Artaud, Brecht, and Diderot suggest that the attempt to include drama in the system of Western literature causes certain specific incongruities that, in his view, have the salutary effect of preserving the otherwise endangered possibility of a truly liberal, progressive, or revolutionary literature.
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![Bennett [family]](http://exclusivebooks.co.za/cdn/shop/products/9781015164772_0a616756-f13f-4923-9fd0-f4a4f205d699.jpg?height=645&pad_color=fff&v=1707373753&width=315)
