"A must-have for all actors who encounter speeches that are longer than three sentences. On the surface, that would be classic works from Sophocles through Shakespeare—with the 17th and 18th centuries thrown in. Dig deeper and the book’s value to actors of modern and contemporary drama is inescapable. Ibsen, Shaw, Williams, Miller, Shepard, Wilson, Kushner, and Suzan-Lori Parks all wrote plays that are filled with powerful rhetorical devices that demand lively, thorough, and specific consideration. This book is a guide that unfolds the mysteries of classical rhetoric in a clear, concise, and effective manner, a book for speakers who want to move their audiences. It is aimed at actors, but also belongs on the shelf of lawyers, advertising copywriters, and, of course, public officials. I will use it in my classes and workshops and enthusiastically recommended it to all actors and actor trainers." —Leslie Reidel, Department of Theatre, University of Delaware

Can computers change what you think and do? Can they motivate you to stop smoking, persuade you to buy insurance, or convince you to join the Army? "Yes, they can," says Dr. B.J. Fogg, director of the Persuasive Technology Lab at Stanford University. Fogg has coined the phrase "Captology"(an acronym for computers as persuasive technologies) to capture the domain of research, design, and applications of persuasive computers.In this thought-provoking book, based on nine years of research in captology, Dr. Fogg reveals how Web sites, software applications, and mobile devices can be used to change people's attitudes and behavior. Technology designers, marketers, researchers, consumers—anyone who wants to leverage or simply understand the persuasive power of interactive technology—will appreciate the compelling insights and illuminating examples found inside. Persuasive technology can be controversial—and it should be. Who will wield this power of digital influence? And to what end? Now is the time to survey the issues and explore the principles of persuasive technology, and B.J. Fogg has written this book to be your guide.* Filled with key term definitions in persuasive computing*Provides frameworks for understanding this domain*Describes real examples of persuasive technologies

Secrets of Acting Shakespeare isn't a book that gently instructs. It's a passionate, yes-you-can designed to prove that anybody can act Shakespeare. By explaining how Elizabethan actors had only their own lines and not entire playscripts, Patrick Tucker shows how much these plays work by ear. Secrets of Acting Shakespeare is a book for actors trained and amateur, as well as for anyone curious about how the Elizabethan theater worked.

The Persuasion Handbook provides readers with cogent, comprehensive summaries of research in a wide range of areas related to persuasion. From a topical standpoint, this handbook takes an interdisciplinary approach, covering issues of interest to interpersonal and mass communication researchers as well as psychologists and public health practitioners. Persuasion is presented in this volume on a micro to macro continuum, moving from chapters on cognitive processes, the individual, and theories of persuasion to chapters highlighting broader social factors and phenomena related to persuasion, such as social context and larger scale persuasive campaigns. Each chapter identifies key challenges to the area and lays out research strategies for addressing those challenges.

Invaluable for student actors at the start of their career and for those whose careers have stalled.

In Shakespeare’s Dramatic Persons, Travis Curtright examines the influence of the classical rhetorical tradition on early modern theories of acting in a careful study of and selection from Shakespeare’s most famous characters and successful plays. Curtright demonstrates that “personation”—the early modern term for playing a role—is a rhetorical acting style that could provide audiences with lifelike characters and action, including the theatrical illusion that dramatic persons possess interiority or inwardness. Shakespeare’s Dramatic Persons focuses on major characters such as Richard III, Katherina, Benedick, and Iago and ranges from Shakespeare’s early to late work, exploring particular rhetorical forms and how they function in five different plays. At the end of this study, Curtright envisions how Richard Burbage, Shakespeare’s best actor, might have employed the theatrical convention of directly addressing audience members. Though personation clearly differs from the realism aspired to in modern approaches to the stage, Curtright reveals how Shakespeare’s sophisticated use and development of persuasion’s arts would have provided early modern actors with their own means and sense of performing lifelike dramatic persons.

The space occupied by international law in shaping political action is subject to continuing debate and controversy. This book aims to answer the question of how and why international law impacts the behaviour of actors on the international stage in the absence of central authority and faced with asymmetric power. At a time when the role of normative restraints in international relations, and international law in particular, has come under renewed questioning, it advances an analytical framework for understanding the effect of norms on behaviour that is not contingent on material restraints or a given political constellation, while being informed by the practical realities and practice of international organisation. In doing so, this book draws on an interdisciplinary range of sources, including international law, political theory, cognitive psychology and behavioural economics to explore a communicative action-based approach of how norms and ideas persuade actors to engage in a course of action consonant with international law to achieve a particular outcome. In probing the role of norms on questions such as the use of force and accountability, and issues of equity and justice, it examines the challenges international law faces and what the way forward may look like.