Aesthetic disgust is a key component of most classic works of drama because it has much more potential than to simply shock the audience. This first extensive study on dramatic disgust places this sensation among pity and fear as one of the core emotions that can achieve katharsis in drama. The book sets out in antiquity and traces the history of dramatic disgust through Kant, Freud, and Kristeva to Sarah Kane's in-yer-face theatre. It establishes a framework to analyze forms and functions of disgust in drama by investigating its different cognates (miasma, abjection, etc.). Providing a concise argument against critics who have discredited aesthetic disgust as juvenile attention-grabbing, Sarah J. Ablett explains how this repulsive emotion allows theatre to dig deeper into what it means to be human.

Without light, there is no photograph. As almost every photographer knows, the word “photograph” has its roots in two Greek words that, together, mean “drawing with light.” But what is less commonly acknowledged and understood is the role that shadow plays in creating striking, expressive imagery, especially in portraiture. It is through deft, nuanced use of both light and shadow that you can move beyond shooting simply ordinary, competent headshots into the realm of creating dramatic portraiture that can so powerfully convey a subject’s inner essence, communicate a personal narrative, and express your photographic vision.

In The Dramatic Portrait: The Art of Crafting Light and Shadow, Chris Knight addresses portraiture with a unique approach to both light and shadow that allows you to improve and elevate your own portraiture. He begins with the history of portraiture, from the early work of Egyptians and Greeks to the sublime treatment of light and subject by artists such as Caravaggio, Rembrandt, and Vermeer. Chris then dives into a deep, hands-on exploration of light, shadow, and portraiture, offering numerous lessons and takeaways. He covers:

• The qualities of light: hard, soft, and the spectrum in between

• The relationships between light, subject, and background, and how to control them

• Lighting patterns such as Paramount, Rembrandt, loop, and split

• Lighting ratios and how they affect contrast in your image

• Equipment: from big and small modifiers to grids, snoots, barn doors, flags, and gels

• Multiple setups for portrait shoots, including those that utilize one, two, and three lights

• How color contributes to drama and mood, eliciting an emotional response from the viewer

• How to approach styling your portrait, from wardrobe to background

• The post-processing workflow, including developing the RAW file, maximizing contrast, color grading, retouching, and dodging and burning for heightened drama and effect

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• How all of these elements culminate to help you define your personal style and create your own narrative

The right reasons to fall in love with The Bachelor When it debuted in 2002, The Bachelor raised the stakes of first-wave reality television, offering the ultimate prize: true love. Since then, thrice yearly, dozens of camera-ready young-and-eligibles have vied for affection (and roses) in front of a devoted audience of millions. In this funny, insightful examination of the world’s favorite romance-factory, Suzannah Showler explores the contradictions that are key to the franchise’s genius, longevity, and power and parses what this means for both modern love and modern America. She argues the show is both gameshow and marriage plot — an improbable combination of competitive effort and kismet — and that it’s both relic and prophet, a time-traveler from first-gen reality TV that proved to be a harbinger of Tinder. In the modern media-savvy climate, the show cleverly highlights and resists its own artifice, allowing Bachelor Nation to see through the fakery to feel the romance. Taking on issues of sex, race, contestants-as-villains, the controversial spin-offs, and more, Most Dramatic Ever is both love letter to and deconstruction of the show that brought us real love in the reality TV era.

In Dramatic Dialogue, Atlas and Aron develop the metaphors of drama and theatre to introduce a new way of thinking about therapeutic action and therapeutic traction. This model invites the patient’s many self-states and the numerous versions of the therapist’s self onto the analytic stage to dream a mutual dream and live together the past and the future, as they appear in the present moment. The book brings together the relational emphasis on multiple self-states and enactment with the Bionian conceptions of reverie and dreaming-up the patient. The term Dramatic Dialogue originated in Ferenczi’s clinical innovations and refers to the patient and therapist dramatizing and dreaming-up the full range of their multiple selves. Along with Atlas and Aron, readers will become immersed in a Dramatic Dialogue, which the authors elaborate and enact, using the contemporary language of multiple self-states, waking dreaming, dissociation, generative enactment, and the prospective function. The book provides a rich description of contemporary clinical practice, illustrated with numerous clinical tales and detailed examination of clinical moments. Inspired by Bion’s concept of "becoming-at-one" and "at-one-ment," the authors call for a return of the soul or spirit to psychoanalysis and the generative use of the analyst’s subjectivity, including a passionate use of mind, body and soul in the pursuit of psychoanalytic truth. Dramatic Dialogue will be of great interest to all psychoanalysts and psychotherapists.

Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts into their commonplace books, verse miscellanies, diaries, and songbooks. This is the first book to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays.