Learn about animals of the rain forest with this paired book and music CD that helps increase students' engagement and their retention of key facts.

"In this volume Professor Groos makes a contribution to three distinct but cognate departments of inquiry: philosophical biology, animal psychology, and the genetic study of art. The world of play, to which art belongs, stands in most important and interesting contrast with the stern realities of life; yet there are few scientific works in the field of human play, and none at all in that of animal play--a fact to be accounted for, probably, by the inherent difficulties of the subject, both objective and subjective. The animal psychologist must harbour in his breast not only two souls, but more; he must unite with a thorough training in physiology, psychology, and biology the experience of a traveller, the practical knowledge of the director of a zoological garden, and the outdoor lore of a forester. And even then he could not round up his labours satisfactorily unless he were familiar with the trend of modern aesthetics. Groos holds play to be an instinct developed by natural selection, and to be on a level with the other instincts which are developed for their utility. Its utility is, in the main, twofold: First, it enables the young animal to exercise himself beforehand in the strenuous and necessary functions of its life and so to be ready for their onset; and, second, it enables the animal by a general instinct to do many things in a playful way, and so to learn for itself much that would otherwise have to be inherited in the form of special instincts; this puts a premium on intelligence, which thus comes to replace instinct"--Preface. (PsycINFO Database Record (c) 2010 APA, all rights reserved).

Reprint of the original, first published in 1875.

The adventures and experiences of an expedition lost in equatorial Africa in the late 1800's.

In this second edition, the author opens with a discussion of important developments in the discipline. His closing chapter, 'Global and Intercultural Performance', is completely rewritten in light of the post-9/11 world. Fully revised chapters with new examples, biographies and source material provide a lively, easily accessible overview of the full range of performance for undergraduates at all levels in performance studies, theatre, performing arts and cultural studies. Among the topics discussed are the performing arts and popular entertainments, rituals, play and games as well as the performances of everyday life. Supporting examples and ideas are drawn from the social sciences, performing arts, post-structuralism, ritual theory, ethology, philosophy and aesthetics. User-friendly, with a special text design, Performance Studies: An Introduction also includes the following features: numerous extracts from primary sources giving alternative voices and viewpoints biographies of key thinkers student activities to stimulate fieldwork, classroom exercises and discussion key reading lists for each chapter twenty line drawings and 202 photographs drawn from private and public collections around the world.

From the New York Times bestselling author of The Genius of Birds, a radical investigation into the bird way of being, and the recent scientific research that is dramatically shifting our understanding of birds -- how they live and how they think. “There is the mammal way and there is the bird way.” But the bird way is much more than a unique pattern of brain wiring, and lately, scientists have taken a new look at bird behaviors they have, for years, dismissed as anomalies or mysteries –– What they are finding is upending the traditional view of how birds conduct their lives, how they communicate, forage, court, breed, survive. They are also revealing the remarkable intelligence underlying these activities, abilities we once considered uniquely our own: deception, manipulation, cheating, kidnapping, infanticide, but also ingenious communication between species, cooperation, collaboration, altruism, culture, and play. Some of these extraordinary behaviors are biological conundrums that seem to push the edges of, well, birdness: a mother bird that kills her own infant sons, and another that selflessly tends to the young of other birds as if they were her own; a bird that collaborates in an extraordinary way with one species—ours—but parasitizes another in gruesome fashion; birds that give gifts and birds that steal; birds that dance or drum, that paint their creations or paint themselves; birds that build walls of sound to keep out intruders and birds that summon playmates with a special call—and may hold the secret to our own penchant for playfulness and the evolution of laughter. Drawing on personal observations, the latest science, and her bird-related travel around the world, from the tropical rainforests of eastern Australia and the remote woodlands of northern Japan, to the rolling hills of lower Austria and the islands of Alaska’s Kachemak Bay, Jennifer Ackerman shows there is clearly no single bird way of being. In every respect, in plumage, form, song, flight, lifestyle, niche, and behavior, birds vary. It is what we love about them. As E.O Wilson once said, when you have seen one bird, you have not seen them all.

In a volume containing 14 original plays – including three shadow-play adaptions of Gogol, Morton and Runyon classics – the author resurrects a sadly neglected theatre genre – the shadow play combining traditional shadow techniques with normal acting to create ‘full-bodied’ mainstream plays. These plays do not use shadow puppetry-type techniques that need people contorting themselves, however wonderfully, to form shapes, but rather normal acting prowess together and usual props of mainstream theatre with the new back-lighting technologies. The result is plays which are realistic and yet overlain with the imaginative fantasies that figure theatre can bring… in a fallow area lying between mime and conventional stage plays… a rediscovered form of a modern staging that crosses between live and shadow effect, whether in workshopping for all ages and group-size or for professional productions. Shadow plays comprise the theatre landscape for live actors re-skilled to jump from behind-the-screen one-dimensional acting to front-of-the-screen three-dimensional acting at any moment of the play. They allow a new and exciting way of presenting the combination of the real and the surreal in ways that offer broadened audience and student experiences, under the master-of-storytelling of a shadow teller together with the master-of-pacing of a mobile light spotter.