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▪ Abstract  This review describes a paradigmatic shift in anthropological studies of human movement, from an observationist view of behavior to a conception of body movement as dynamically embodied action. After outlining the scope of such study, historical and cultural reasons for the relative neglect of body movement in anthropological enquiry are examined critically and placed in the wider context of recent social and cultural theorizing about the body and the problem of dynamic embodiment. A historical overview situates earlier approaches, such as kinesics and proxemics, in relation to more recent developments in theory and method, such as those offered by semasiology and the concept of the "action sign." Overlapping interests with linguistic and cognitive anthropology are described. The emergence of a holistic "anthropology of human movement" has raised new research questions that require new resources. Theoretical insights have challenged researchers to devise new methods and to adopt or devise new technologies, such as videotape and an adequate transcription system. An example of the latter illustrates the analytic advantages of literacy in the medium.

THE MAIN PROTAGONISTS IN THE WORLD ECONOMY FOR OVER HALF A CENTURY HAVE BEEN TRANSNATIONAL CORPORATIONS (TNCS), WHICH HAVE STEADILY ACCRUED ECONOMIC AND POLITICAL POWER. THE NORTH AMERICAN FREE TRADE AGREEMENT (NAFTA) REPRESENTS A SIGNIFICANT ADDITION TO THE SUPRANATIONAL LEGAL ENVIRONMENT. THIS ARTICLE EXPLORES HOW THE LEGAL ASPECTS OF NAFTA AFFECT THE ABILITY OF LOCAL U.S. COMMUNITIES TO SHAPE THEIR OWN ECONOMIC AND SOCIAL CONDITIONS. IT ARGUES THAT THE MECHANISMS FOR ENFORCING NAFTA WILL LIMIT THE ABILITY OF CITIZENS AND PUBLIC INTEREST GROUPS TO INTERVENE AGAINST THE GROWING AND NEGATIVE ECONOMIC, HEALTH, SAFETY, AND ENVIRONMENTAL CONSEQUENCES OF TRANSNATIONAL BUSINESS OPERATIONS THAT NAFTA WILL PROMOTE.

To be an actor, one must have an understanding not only of theatrical craft, but also of the world that surrounds and informs theatre. During my undergraduate training, I have pursued a variety of diverse academic skills and extracurricular talents, all of which I have been able to relate back to my primary field--the performing arts. I am particularly interested in the intersection between studies in Theatre Arts and studies in English, as those are my two majors. Literary analysis, research, and reflective writing can unlock an actor's interpretation of a role. The actor who combines these two fields is the actor who is able to touch the most lives through performance, which is ultimately theatre's noblest goal. The plays of William Shakespeare serve as a bridge between Theatre and English departments. Not only are they immensely popular with audiences of all ages, they also offer unique challenges to actors and are goldmines for literary research and analysis. One of Shakespeare's most popular comedies is Much Ado About Nothing, an early example of the romantic comedy or "rom-com" genre. That is not to say that the play does not present any challenges; in particular, the actor portraying Beatrice must be both sharp-tongued and vulnerable, quick-witted and unsuspecting, independent and insecure. In order to inhabit all her contradictions, the actor must use every available tool to unpack the character and give a successful performance. The scholar must also bridge a four hundred year gap to correctly interpret the play; the English language has evolved, social and political climates have shifted, and the world itself has shrunk. The goal of this project was to explore the ways I could bridge my education and demonstrate that this can result in a rich and well-informed theatrical representation of one of Shakespeare's most beloved heroines. I aim to give the reader a comprehensive understanding of an actor's process from the moment they are cast to the final fall of the curtain on closing night. On a more personal level, I sought to understand how I can use all the tools at my disposal-both literary and theatrical-to deepen my understanding and execution of a role. From research to preparatory work to rehearsal to performance, how can one combine every tool and resource into a cohesive, authentic experience on stage? I found that every single step in the actor's process is crucial, even though it can feel, at times, like the amount of work that goes into each role is excessive. Even though every single fact or tool may not be used specifically, having that arsenal to draw upon during performance is invaluable. Though it may seem counterintuitive, it allows the actor to relax into the role and be truly alive and present in the moment as their character in the world of the play on stage.