"Half Open Doors" is a selection of poems written to recall the lost and forgotten; an effort to rediscover the overlooked and the easily missed. Poetry that attempts to reveal the eternal in a moment past present or passing. Poems that invite a glimpse into the timeless through a half open door.
Prathyagrahi was a successful rich man amassed lot of wealth but at the age of ninety six he suddenly became bedridden. In the beginning of his life, Prathyagrahi’s family was very poor but enthusiastic and intelligent Prathyagrahi always wanted to be rich. Suddenly he became quite rich in his young days itself and there was a rumor that Prathyagrahi took the help of some spirits to become rich like that. But Prathyagrahi never has agreed to that and his wife Savitri also could not know the truth however much hard she tried. Even she always suspected, Savitri did not convince and confirm in herself that Prathyagrahi took the help of some evil power to become rich like that, until she heard her granddaughter Ragini, possessed by the bad angel Upanya talking at bedridden Prathyagrahi that she would take revenge on him and his family as he took help from her and betrayed her and her gang. Feeling very much fear that Upanya, the bad angel, put her words into action, at the suggestion of his whole family, Prathyagrahi’s son Sadan invited his parapsychologist friend Anurag to his home to solve the problem of that evil power. Once came into the house of his friend Sadan, Anurag started trying in all the ways possible to know about that evil power and solve the problem. He suspected that some spirit was trying to contact the people in Prathyagrahi’s room and communicate something because of the strange experiences of nurses at Prathyagrahi and Prathyagrahi’s daughter Mandakini in that room. He made Yamuna, the night time nurse at Prathyagrahi to act as medium to that spirit and that spirit, who was Prathyagrahi himself, came into Yamuna and communicated with his family. Prathyagrahi’s sorcerer friend Viloma gave him the ability to separate himself from the body and communicate with his family members. Prathyagrahi at last revealed his secret through Yamuna that he took the help of Upanya the bad angel to become rich in his life promising to help it and its gang in return in their deeds but after coming to know about the bad nature of Upanya and her gang he got them spell-bounded to metal dolls, put them in a metal pot and buried deep under earth by his friend and sorcerer Viloma. But after eighty or so of years, the place where those bad angels were buried was excavated, that pot has been taken out from there and when the metal dolls were touched with impure hands they lost their power and those bad angels could become free. Viloma once again made those dolls became powerful and got them reached Prathyagrahi. As suggested by Prathyagrahi, Anurag made contact with Viloma, the sorcerer, to know how to get rid of those bad angels again. Viloma said to him, on a peculiar solar eclipse day, which comes on a Sunday, first week, first month in a year, luckily which was going to happen soon, those bad angels would be with very little power and on that day those bad angels could be easily invited into those metal dolls, spell-bounded and buried under earth after putting them in a special metal pot as he did on such a peculiar solar eclipse day eighty years or so back. But some conditions have to be met with to do that and Viloma elaborated them to Anurag. Those conditions were carefully met with by Anurag and Sadan’s family members and on the peculiar solar eclipse day, Viloma possessing Anurag invited those bad angels into those dolls, spell-bounded them and buried them deep under earth just as he did eighty years or so before. But before being buried like that, Upanya and her gang, so desperately tried to escape from that and used Dr.Mallikarjun who attended on Prathyagrahi and Dr.Sasichandan who is a junior doctor in Dr.Mallikarjun’s hospital. Samita, a nurse, also has been used by Upanya to spoil the plans of Anurag and Viloma. But however much hard they tried none of their plans worked and they had to meet with the tragic end!
Heedless. Stubborn. Disgraced. Small town Illinois, 1870: "My stepfather was not particularly fond of me to begin with, and now that he'd found out about the baby, he was foaming at the mouth" Desperate to avoid marriage, Nell Lillington refuses to divulge the name of her child's father and accepts her stepfather's decision that the baby be born at a Poor Farm and discreetly adopted. Until an unused padded cell is opened and two small bodies fall out. Nell is the only resident of the Poor Farm who is convinced the unwed mother and her baby were murdered, and rethinks her decision to abandon her own child to fate. But even if she manages to escape the Poor Farm with her baby she may have no safe place to run to.
"A study of Netherlandish triptychs from the early fifteenth century through the early seventeenth century, covering works by Jan van Eyck, Rogier van der Weyden, Hugo van der Goes, Hieronymus Bosch, and Peter Paul Rubens. Explores how the triptych format structures and generates meaning"--Provided by publisher.
The Dramaturgy of the Door examines the door as a critical but under-explored feature of theatre and performance, asking how doors function on stage, in site-specific practice and in performances of place. This first book-length study on the topic argues that doors engage in and help to shape broad phenomena of performance across key areas of critical enquiry in the field. Doors open up questions of theatrical space(s) and artistic encounters with place(s), design and architecture, bodies and movement, interior versus exterior, im/materiality, the relationship between the real and the imaginary, and processes of transformation. As doors separate places and practices, they also invite us to see connections and contradictions between each one and to consider the ways in which doors frame the world beyond the stage and between places of performance. With a wide-ranging set of examples – from Shakespeare’s Macbeth to performance installations in the Mojave Desert – The Dramaturgy of the Door is aimed at performance makers and artists as well as advanced students and scholars in the fields of performance studies, cultural theory, and visual arts.
Res 61/62 includes “Chinese coffins from the first millennium b.c. and early images of the afterworld” by Alain Thote; “Art and personhood” by Björn Ewald; “Western Han sarcophagi and the transformation of Chinese funerary art” by Zheng Yan; “Reading identity on Roman strigillated sarcophagi” by Janet Huskinson; and other papers.
The role doors and windows play in shaping the life and structure of Roman private dwellings has been underestimated; they are structures that connect not only rooms but houses to the outside world, and they relate to privacy, security, and light in domestic spaces. This volume analyses these structures as an essential part of daily life.