If you need a helping hand with Shakespeare, this book provides it. Dr Cedric Watts, Emeritus Professor of English Literature at Sussex University, offers a broad introductory survey of Shakespeare's works and techniques. Every play is discussed critically - even Love's Labour's Won! Matters of prosody and rhetoric are explained. The Sonnets are interpreted provocatively. 'An ideal book for those coming to Shakespeare for the first time and for more experienced readers. Watts offers the most lively and cheering company', says Professor David Hopkins of Bristol University. The eminent novelist Ian McEwan adds: 'Cedric Watts is a superb critic in the liberal tradition - highly readable, open and generous in spirit, broad and deep in his reading, and wise in judgement.' Cedric Watts has written numerous books on Shakespeare's works, and has edited 21 of the plays for the Wordsworth Classics' Shakespeare Series.
Cedric Dey is a retired dental surgeon living in Kamsack, Saskatchewan, after a long and variegated life. He left his homeland of British Guiana in the fifties to study at Howard University in Washington, D.C. and Meharry University in Nashville, Tennessee. Following an internship at the Toronto General Hospital and private practice in Toronto he returned to the new nation of Guyana for seven years before settling on the Canadian prairies. In After One Time a fictional narrator reflects on his friendship with three boyhood friends: from carefree beginnings in colonial British Guiana, through adventures and studies in the segregated United States, to professional careers in Canada. A sojourn in their independent homeland brings them full circle.
This book is about American jazz history and a very special place in San Francisco that was called Earthquake McGoon's, which was one of the longest running jazz clubs in America. Included in Meet Me At McGoon's are some 860 photos and illustrations, a complete index and an updated list of Turk Murphy recordings at the time of writing this book.
Of Vagabonds and Fellow Travelers recovers the history of the writers, artists, and intellectuals of the African diaspora who, witnessing a transition to an American-dominated capitalist world-system during the Cold War, offered searing critiques of burgeoning U.S. hegemony. Cedric R. Tolliver traces this history through an analysis of signal events and texts where African diaspora literary culture intersects with the wider cultural Cold War, from the First Congress of Black Writers and Artists organized by Francophone intellectuals in September 1956 to the reverberations among African American writers and activists to the assassination of Patrice Lumumba. Among Tolliver’s subjects are Caribbean writers Jacques Stephen Alexis, George Lamming, and Aimé Césaire, the black press writing of Alice Childress and Langston Hughes, and the ordeal of Paul Robeson, among other topics. The book’s final chapter highlights the international and domestic consequences of the cultural Cold War and discusses their lingering effects on our contemporary critical predicament.
Cedric Watts, M.A., Ph.D., Emeritus Professor of English at Sussex University, gathers here seventeen of his literary essays which were previously published in a diversity of locations. The authors discussed include: Shakespeare, Dickens, James Fenimore Cooper, Maupassant, Kipling, O. Henry, Anthony Hope, Conan Doyle, John Buchan, John Galsworthy, Stephen Crane, Joseph Conrad, James Joyce and Graham Greene.
Cedric Watts, Emeritus Professor of English at Sussex University, gathers here fifteen of his literary essays which were previously published in a diversity of locations. They include some of his most popular and controversial pieces, notably: ' The Semiotics of Othello'; 'Bakhtin's Monologism'; 'Haunting Conrad's Under Western Eyes'; and 'Jews and Degenerates in The Secret Agent'. Several of the essays concern Shakespeare and Conrad, but there are also discussions of Keats, Sterne, Kipling, D. H. Lawrence, and Edward FitzGerald's translation of The Rubáiyát of Omar Khayyám.
Widely recommended, this guide to Conrad offers a vivid and incisive account of his life and literary career, and gives detailed attention to the contexts, themes, problems and paradoxes of his works.
Lively, informed and thorough, this survey of the life and works of Graham Greene opens with a biographical account setting the writer in context of his times and describing and exploring the influences, tensions and contradictions that occur throughout his work. The second half of the book devotes itself to the 'art of Greene' discussing his writing techniques, recurring themes, and imaginative preoccupations. Within this section thorough critical analyses are given of three works: Brighton Rock, The Power and the Glory, and the film, The Third Man. The book concludes with a reference section which comprises a gazeteer, a biographical list and a bibliography. Suggestions for further reading and a list of films encourage the student to explore the works of Greene more widely.
Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" firmly entrenched limited representations of African Americans. Robinson grounds his study in contexts that illuminate the parallel growth of racial beliefs and capitalism, beginning with Shakespearean England and the development of international trade. He demonstrates how the needs of American commerce determined the construction of successive racial regimes that were publicized in the theater and in motion pictures, particularly through plantation and jungle films. In addition to providing new depth and complexity to the history of black representation, Robinson examines black resistance to these practices. Whereas D. W. Griffith appropriated black minstrelsy and romanticized a national myth of origins, Robinson argues that Oscar Micheaux transcended uplift films to create explicitly political critiques of the American national myth. Robinson's analysis marks a new way of approaching the intellectual, political, and media racism present in the beginnings of American narrative cinema.
Grown-A$$ Man. What does it mean? It means I ain't got time to play-no nonsense. For one thing, it means I don't wear baggy pants sagging off my bootie. I can't let you see my underwear label. That's not cute. I'm a grown-a$$ man. "Grown-a$$ man" is more than a catch phrase. It's a way of life. It's a "perspective. Say you got a younger cousin. He's got one of those ghetto nicknames. He calls himself "Delicious." Says, "Hey, call me Delicious." You say: "Listen, I'm a grown-a$$ man. I ain't going to call a guy Delicious." Making love is no longer a full time occupation, not the way it once was. I used to do it all night, but now it takes me all night to do it. It's not that I don't like sex, but I'm a grown-a$$ man. I got other things to do. You know those 500 mile walkathon people? I'm a grown-a$$ man. I got a driver's license. ***** Cedric the Entertainer has sold out major theaters across America, starred in Spike Lee's hit movie "The Original Kings of Comedy, added his lovable appeal to the WB's "The Steve Harvey Show, and his Bud Light commercial was voted the #1 ad on the Super Bowl. Now in "Grown-A$$ Man-his laugh-out-loud, first ever book-he proudly presents the very best of his unique brand of comedy. Here's the red-hot comic in all his hilarity, talking about everything from old music vs. new ("I like Big, curl-ain't-quite-right Luther. His curl never really curled all the way over. Always concerned me.") to the pain of political correctness ("You can't even smoke cigarettes on Earth now. You got to leave Earth to do it.") to the differences between black people and white folks. He talks about the influences that shaped him while growingup in small town Missouri, a town "so small anyone could whip your butt, not just your mama." In "Grown-A$$ Man, you'll see the many faces of Cedric, all outrageously funny and delivered with his trademark warmth and wit.
Shakespeare loves loose ends; Shakespeare also loves red herrings.' Stephen Orgel Loose ends and red herrings are the stuff of detective fiction, and under the scrutiny of master sleuths John Sutherland and Cedric Watts Shakespeare's plays reveal themselves to be as full of mysteries as any Agatha Christie novel. Is it summer or winter in Elsinore? Do Bottom and Titania makelove? Does Lady Macbeth faint, or is she just pretending? How does a man putrefy within minutes of his death? Is Cleopatra a deadbeat Mum? And why doesn't Juliet ask 'O Romeo Montague, wherefore art thou Montague?' As Watts and Sutherland explore these and other puzzles Shakespeare's genuius becomes ever more apparent. Speculative, critical, good-humoured and provocative, their discussions shed light on apparent anachronisms, perfromance and stagecraft, linguistics, Star Trek and much else. Shrewd andentertaining, these essays add a new dimension to the pleasure of reading or watching Shakespeare. 'Few modern academics are doing quite so much as Professor Sutherland to connect the "common reader" with great books' Independent
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