Lydia Prexl's Books

Communications Guide for Startups

How to Win Customers, Investors, and new Talent through Inspiring Messaging

By: Lydia Prexl

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Communications Guide for Startups

How to Win Customers, Investors, and new Talent through Inspiring Messaging

By: Lydia Prexl

Turning communication into your start-up's biggest asset Nine out of ten startups fail. One cause of failre is bad communication - both externally and internally. Yet there is little systematic advice on how startups and scale-ups can overcome this challenge and inspire all stakeholders around the company's vision, values, and offering. This book closes this gap - with seventy experts sharing their learnings and experiences. It is a guide for all curious to learn more about how to win customers, investors and new talent through a convincing narrative, covering external, internal, social media and leadership communication.

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294

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UVK Verlag

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ISBN 10

3739806141

ISBN 13

9783739806143

The Tragedy of Jimmy Porter

Overview of the critical opinions about "Look Back in Anger" and development of a thesis

By: Lydia Prexl

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The Tragedy of Jimmy Porter

Overview of the critical opinions about "Look Back in Anger" and development of a thesis

By: Lydia Prexl

Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Mannheim, language: English, abstract: It is widely accepted that John Osborne's play Look Back in Anger was a turning-point in the history of British theatre, a milestone introducing the era of the New British Drama. Osborne remembers: "On 8 May 1956 [...] Look Back in Anger had its opening at the Royal Court Theatre. This [...] particular date seems to have become fixed in the memories of theatrical historians" and Lacey emphasises: "The moment of John Osborne's Look Back in Anger [...] was undoubtedly a symbolic one in the history of post-war British theatre and of post-war culture generally." However, Look Back in Anger was not perceived as a break-through right from the beginning. Rather, Osborne had to cope with shattering criticism and at first, his play was a crushing defeat. Osborne himself summarized the reactions towards Look Back in Anger in his autobiography about thirty years later: "There was a vehement, undisputed judgement: the play was a palpable miss." Nearly all reviews focused on the play's hero Jimmy Porter, whose nature they depicted as the reason for the "essential wrongness" of the play. Jimmy was seen as "a bitter young misfit," "a boor, self-pitying, self-dramatising rebel" and a "cynical, neurotic [young man] of working-class stock," whose "continuous tirade against life [...] ha[d] a deadening effect upon the whole play." Cecil Wilson sharpened the criticism when she exclaimed that Jimmy Porter's bitterness and his savage and often vulgar talk "crie[d] out for a knife." However, the attitudes towards Osborne and his first play changed with the publication of Kenneth Tynan's testimony in the Sunday newspaper a week later stating that he could hardly "love anyone who did not wish to see Look Back in Anger. It is the best young play of its decade." This provocative review suddenly shed a new light on the play. Overnight, Look Back in Anger had become a success, its (anti-)hero Jimmy Porter "the first young voice to cry out for a new generation that had forgotten the war, mistrusted the welfare state and mocked its established rulers with boredom, anger and disgust" and John Osborne had become a celebrated young writer. Owing to its literary key role in the history of British Drama I would like to give a brief overview of the critical opinions about Look Back in Anger before I move on to developing my own thesis.

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GRIN Verlag

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ISBN 10

3640349318

ISBN 13

9783640349319

The Aspect of Memory in Harold Pinter’s 'Old Times'

By: Lydia Prexl

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The Aspect of Memory in Harold Pinter’s 'Old Times'

By: Lydia Prexl

Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Mannheim (Anglistisches Seminar), course: New British Drama, language: English, abstract: It is widely accepted that memories reconstruct the past: We need individual memories in order to experience biographical continuity. Without the episodic (or autobiographical) memory, it would be impossible for us to link our individual past to ourselves. The strong connexion between memory and the past is a very prominent topic in contempo-rary British fiction and the significance of memory is discussed in many literary works. One of these works is Harold Pinter’s play Old Times. Together with the plays Landscape and Silence and the sketch Night, these works have often been referred to as ‘memory plays’ because they „focus on the past”. In all these plays, Pinter extensively investigates the possibilities of recreating the past as well as the problematic function of memory. [...] Given the fact that even the author himself has difficulties to summarize his works, it is even more difficult for the viewer, especially as Pinter does not write “with an audience in mind” . Though he is convinced “that what happens in (his) plays could happen anywhere, at any time, in any place, although the events may seem unfamiliar at first glance,” the action in Pinter’s plays is always ambiguous and the plot a framework of contradictions, multilayered statements and silences. So, what is Pinter writing about? He only gives us one clue: It is “not (about) the weasel under the cabinet. This paper aims to answer the question above. In the following, I will look at the sketch Night first. Then I want to concentrate on the topic of memory in the plays Landscape and Silence. In the main part, I will discuss the significance of memory in Old Times. As we will see, Pinter demonstrates that memory operates on a variety of levels. In all plays, memory is unreliable and can be reshaped according to one’s present needs. It can be a means of comfort and security, as in Night. It can separate people by providing them with the possibility to live in the past and to avoid confrontation in the present, as in Landscape and Silence. In Old Times, the function of memory is clearly the most complex. Here, it is used as a weapon in a battle for positions in which impression man-agement rules the battlefield.

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GRIN Verlag

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ISBN 10

3640345398

ISBN 13

9783640345397

Attitudes towards the child in children's literature: A Comparison of the Victorian Age and the Inter-War Period

By: Lydia Prexl

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Attitudes towards the child in children's literature: A Comparison of the Victorian Age and the Inter-War Period

By: Lydia Prexl

Seminar paper from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 1,7, University of Sussex, language: English, abstract: Prior to the eighteenth and nineteenth century, childhood was not considered a separate stage of development. People at that time rather thought of children as miniature adults without a legal status. Due to new upcoming theories of philosophers such as John Locke or Jean-Jacques Rousseau however, children were seen in a new light. Thus, from the late eighteenth century onwards, parents slowly began to look at their children as individuals with concerns, wishes and fears much different from the adult. This new perception of childhood initiated authors to write literature both for and about children, which ultimately led to a new literal genre that we nowadays take for granted: children's literature. The following essay will compare the attitudes towards the child in children's literature of the Victorian Age with the attitude portrayed in inter-war children's literature. It will explore how the perception of the child in the nineteenth century changed, how this change is reflected in the fiction of the time and how it affected the children's literature of the inter-war period. It will argue that whereas early children's literature was mostly didactic and addressing the adult rather than the child reader, novels of the middle and late nineteenth century concentrated more on young readers and their specific needs and desires by introducing a more entertaining and fabulous style of writing. The essay will then take a closer look at children's literature of the early twentieth century and demonstrate that fiction of that period continued to put the child in the focus of attention while at the same time dealing with new topics and offering ways of escapism with respect to the threat of the Second World War.

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GRIN Verlag

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ISBN 10

3640380088

ISBN 13

9783640380084

The Aspect of Memory in Harold Pinter's 'Old Times'

By: Lydia Prexl

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The Aspect of Memory in Harold Pinter's 'Old Times'

By: Lydia Prexl

Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Mannheim (Anglistisches Seminar), course: New British Drama, language: English, abstract: It is widely accepted that memories reconstruct the past: We need individual memories in order to experience biographical continuity. Without the episodic (or autobiographical) memory, it would be impossible for us to link our individual past to ourselves. The strong connexion between memory and the past is a very prominent topic in contempo-rary British fiction and the significance of memory is discussed in many literary works. One of these works is Harold Pinter's play Old Times. Together with the plays Landscape and Silence and the sketch Night, these works have often been referred to as 'memory plays' because they "focus on the past". In all these plays, Pinter extensively investigates the possibilities of recreating the past as well as the problematic function of memory. [...] Given the fact that even the author himself has difficulties to summarize his works, it is even more difficult for the viewer, especially as Pinter does not write "with an audience in mind" . Though he is convinced "that what happens in (his) plays could happen anywhere, at any time, in any place, although the events may seem unfamiliar at first glance," the action in Pinter's plays is always ambiguous and the plot a framework of contradictions, multilayered statements and silences. So, what is Pinter writing about? He only gives us one clue: It is "not (about) the weasel under the cabinet. This paper aims to answer the question above. In the following, I will look at the sketch Night first. Then I want to concentrate on the topic of memory in the plays Landscape and Silence. In the main part, I will discuss the significance of memory in Old Times. As we will see, Pinter demonstrates that memory operates on a variety of levels. In all plays, memory is unreliable and c

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GRIN Verlag

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ISBN 10

3640345231

ISBN 13

9783640345236

The Tragedy of Jimmy Porter

Overview of the critical opinions about "Look Back in Anger" and development of a thesis

By: Lydia Prexl

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The Tragedy of Jimmy Porter

Overview of the critical opinions about "Look Back in Anger" and development of a thesis

By: Lydia Prexl

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Solve jigsaw puzzle

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Publisher

GRIN Verlag

Published Date

ISBN 10

3640349318

ISBN 13

9783640349319

Book's by Lydia Prexl

Communications Guide for Startups

Communications Guide for Startups

The Tragedy of Jimmy Porter

The Tragedy of Jimmy Porter

The Aspect of Memory in Harold Pinter’s 'Old Times'

The Aspect of Memory in Harold Pinter’s 'Old Times'

Attitudes towards the child in children's literature: A Comparison of the Victorian Age and the Inter-War Period

Attitudes towards the child in children's literature: A Comparison of the Victorian Age and the Inter-War Period

The Aspect of Memory in Harold Pinter's 'Old Times'

The Aspect of Memory in Harold Pinter's 'Old Times'

The Tragedy of Jimmy Porter

The Tragedy of Jimmy Porter

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