Alison går på en skole for særligt kloge børn, selvom hun ikke føler sig som noget særligt. En dag sker der noget mystisk med den nye dreng i klassen og med det klassebillede, de lige har fået taget. Samtidig har Alison fået fat i noget, der måske kan være nøglen til at løse mysteriet.Alison og hendes to bedste venner må nu i gang med at opklare, hvad der er sket, og forsøge at redde deres klassekammerat, inden det er for sent ...
Drawing on personal interviews, manuscript collections, and the author's unpublished writings, Judie Newman offers a comprehensive study of the work of Alison Lurie from her early involvement in the Poets' Theatre to the AIDS comedy of her most recent novel, The Last Resort (1988). In her profound social and intellectual engagement with American Utopianism, from its historical origins through such contemporary manifestations as Walter Benjamin's Hollywood, the American University, feminist theorisations, the religious cult and the gay heterotopia, and in her intertextual reworkings of folk and fairy tale, biography, diary novel, the ‘International Theme’ and the classic ghost story, Lurie maintains an uncanny ability to serve critical aesthetic purposes within a popular fictional form. Semiotic comedies - comedies of the sign - rather than novels of manners, Lurie's fictions place her squarely within a radical American tradition.
This is the autobiography of Alison French who overcame her disability in order to enjoy an active life. Alison was born with athetoid cerebral palsy - a condition which keeps her body in constant motion and affects her co-ordination and speech. This book describes Alison's struggle to overcome her disability and confound all the sceptics by achieving her ambition to become a qualified youth worker. Alison is now married to a Welsh rugby-playing curate. Alison French has been the subject of BBC TV's Forty Minutes programme on two separate occassions, has appeared on the Wogan show and has featured in a number of magazine and newspaper articles.
Opening with a Foreword by James Alison, this volume is the first in-depth treatment of Alison’s theological method. John P. Edwards shows that Alison’s theological project outstrips René Girard’s application of mimetic theory to theology. He concludes that an explicitly Christian theological perspective is necessary for providing a fully coherent account of Girard’s notions of "conversion" and "mimetic desire". This volume grounds Alison’s theological method in his understanding of the ongoing interaction between conversion and theological reflection, which is informed by his use of mimetic theory. While Alison describes this method as “theology in the order of the discovery”, the author refers to it as an “inductive theology”. The volume closes by demonstrating that such a theology bears fruit in a renewed understanding of the value of Christian doctrines and, particularly, the doctrine of revelation.
Opening with a Foreword by James Alison, this volume is the first in-depth treatment of Alison’s theological method. John P. Edwards shows that Alison’s theological project outstrips René Girard’s application of mimetic theory to theology. He concludes that an explicitly Christian theological perspective is necessary for providing a fully coherent account of Girard’s notions of "conversion" and "mimetic desire". This volume grounds Alison’s theological method in his understanding of the ongoing interaction between conversion and theological reflection, which is informed by his use of mimetic theory. While Alison describes this method as “theology in the order of the discovery”, the author refers to it as an “inductive theology”. The volume closes by demonstrating that such a theology bears fruit in a renewed understanding of the value of Christian doctrines and, particularly, the doctrine of revelation.
The first survey of the Fluxus cofounder’s prolific avant-garde output, from eight-foot-tall books to make-a-salad performances The American artist Alison Knowles’ (born 1933) groundbreaking experiments—from painting and printmaking to sculpture and installation, sound works, poetry and artist’s books—have influenced art and artists for more than 50 years but remain relatively unknown among mainstream audiences. The first comprehensive volume on the artist, By Alison Knowles: A Retrospective presents more than 200 objects that span the entire breadth of her career, from her intermedia works of the 1960s to forms of participatory and relational art in the 2000s. The accompanying catalog features contributions by international Fluxus curators, historians and scholars, including lead essays by organizer Karen Moss, Hannah B. Higgins and Nicole Woods, and short contributions by co-editor Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot. It also includes reprints of key articles by Benjamin Buchloh, Julia Robinson and Kristine Stiles, as well as a conversation between Alison Knowles and poet George Quasha. Richly illustrated with more than 250 images, the full-color catalog, designed by Kimberly Varella, includes a softcover lay-flat binding, special colored papers for each section, die-cut section dividers and a chronology. The cover of the book is a makeready (press sheets gathered from printing the interior of the book) produced during the printing of the interior pages. Each cover in the edition is unique.
