(Opens in a new window) Read Our TickTick ReviewĪny.do Premium lets you assign as many tasks to other people as you need.
The same can be said for Asana, which you can use for personal task-management but is ideal for group tasks and lightweight projects. Todoist looks a little busier, but works magnificently. It doesn't rival Editors' Choice Todoist, though. Any.do is about average with other to-do apps, and perhaps people who like minimalist design will gravitate toward it. Other parts of the app aren't as polished, unfortunately. I still love the Any.do Moment feature, which prompts you to review all tasks assigned to you for the day and either commit to them or defer them. The more features Any.do has racked up, however, the more the app has slipped in aiming for a flawless user experience.Īny.do is still pretty dreamy on mobile devices, but it flounders on desktop and web. It's been on the task-management scene for a while, growing and changing with the times. Any.do is a to-do list app with versions for nearly every platform.
Who can manage modern life's challenges without a great to-do list app? Wherever you are, the app should show you what needs to get done, and remind you of these tasks appropriately.
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This ultimately comparative work with elements of personal reflection, art, and creative non-fiction engages the sociological side of religious studies and brings its tools to bear on arts, gender, and culture, an area ripe for exploration by scholars of religion. I propose a model of sainthood and martyrology that draws continuity from the adoration of novice monks and laypeople in the medieval church to the adoration of novice dance students and balletomanes in the present. In this search for the body, I look at how sainthood and sanctity – the idea of the perfected, holy, mediating body – play out in the sacred context of theology and the arguably secular context of ballet. This allows for engagement with constructions of gender that put medieval modes of sanctity in context, to argue a Durkheimian interpretation of identity and religious value from the ground up, and to theorise about the nature of the sanctified body as a thing presented to the world and a thing negated by the will and the spirit. Utilising Caroline Walker Bynum’s work on sanctified feminine medieval bodies and Orsi and Tweed’s construction of lived religion, I connect Bynum’s presentation of the body with the way bodies are presented, viewed, and consumed in ballet, from the Romantic period to contemporary ballet companies. This research considers the commonalities between these attitudes, considering how gender, performance, and presence play into the perception of the body in classical ballet and in medieval mystical piety as both subject and object, playing both off of each other to look for moments of alignment and moments of divergence. Though centuries separate medieval mystical piety and classical ballet, both share in common the contested nature of the body, regarding the body at once as both a vehicle to sublime transcendence and unruly flesh that must be disciplined in order to obtain that transcendence. This distinctive situation deserves closer scholarly investigation. Ballet, therefore, is not presented simply on the stage but in Japan is frequently interpreted/experienced through Shōjo Manga. Since the 1970s, some authors have attempted to combine this imagery of ballet with the idea of feminine independence and agency, thus negotiating the paradox of reality and fantasy in lived experience.
“Ballet manga” used this particular art form, its costumes, and romanticized, almost fairy tale-like settings of Old World Europe as a mix of femininity, rigor, and elegance remade for Japanese audiences. With the first examples published in the mid-1950s, the history of ballet-themed manga reveals that, particularly in the years following the Second World War, ballet was the epitome of a dream world, connoting luxury, beauty, and glamour. A prime example is the understudied genre of “ballet manga” in Japanese Shōjo Manga culture. As a conventionally female-dominated arena, ballet and the ideas that circulate around it reveal the complex interrelationship between femininity, beauty, and selfhood. Even in a country like Japan, which has not been previously identified as a “ballet capital,” it is receiving wide public attention. "The popularity of classical ballet as a cultural form grows apace in a global context.
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