Shakespeare's Villains is a close reading of Shakespeare's plays to investigate the nature of evil. Charney closely considers the way that dramatic characters are developed in terms of language, imagery, and nonverbal stage effects. With chapters on Iago, Tarquin, Aaron, Richard Duke of Glaucester, Shylock, Claudius, Polonius, Macbeth, Edmund, Goneril, Regan, Angelo, Tybalt, Don John, Iachimo, Lucio, Julius Caesar, Leontes, and Duke Frederick, this book is the first comprehensive study of the villains in Shakespeare.
Shakespeare’s Style presents a detailed consideration of aspects of Shakespeare’s writing style in his plays. Each chapter offers a detailed discussion about a single feature of style in a chosen Shakespeare play. Topics examine include: a discussion of a key image or images, both verbal and nonverbal; consideration of the way a character is put together; reflection of the changing audience response to a character; and audience response to an account of the speech rhythms of a single play. This book will be of interest to audiences who see Shakespeare’s plays, readers of the printed page, and students aiding them in concentrating on the significant ways that Shakespeare expresses himself.
The complex and sometimes contradictory expressions of love in Shakespeare's works—ranging from the serious to the absurd and back again—arise primarily from his dramatic and theatrical flair rather than from a unified philosophy of love. Untangling his witty, bawdy (and ambiguous) treatment of love, sex, and desire requires a sharp eye and a steady hand. In Shakespeare on Love and Lust, noted scholar Maurice Charney delves deeply into Shakespeare's rhetorical and thematic development of this largest of subjects to reveal what makes his plays and poems resonate with contemporary audiences. The paradigmatic star-crossed lovers of Romeo and Juliet, the comic confusions of couples wandering through the wood in A Midsummer Night's Dream, Othello's tragic jealousy, the homoerotic ways Shakespeare played with cross-dressing on the Elizabethan stage—Charney explores the world in which Shakespeare lived, and how it is reflected and transformed in the one he created. While focusing primarily on desire between young lovers, Charney also explores themes of love in marriage (Brutus and Portia) and in same-sex pairings (Antonio and Sebastian). Against the conventions of Renaissance literature, Shakespeare qualified the Platonic view that true love transcends the physical. Instead, as Charney demonstrates, love in Shakespeare's work is almost always sexual as well as spiritual, and the full range of desire's dramatic possibilities is displayed. Shakespeare on Love and Lust begins by considering the ways in which Shakespeare drew upon and satirized the conventions of Petrarchan Renaissance love poetry in plays like Romeo and Juliet, then explores how courtship is woven into the basic plot formula of the comedies. Next, Charney examines love in the tragedies and the enemies of love (Iago, for example). Later chapters cover the gender complications in such plays as Macbeth and The Taming of the Shrew as well as the homoerotic themes woven into many of the poems and plays. Charney concludes with a lively discussion of paradoxes and ambivalences about love expressed by Shakespeare's word play and sexual innuendoes.
The complex and sometimes contradictory expressions of love in Shakespeare's works—ranging from the serious to the absurd and back again—arise primarily from his dramatic and theatrical flair rather than from a unified philosophy of love. Untangling his witty, bawdy (and ambiguous) treatment of love, sex, and desire requires a sharp eye and a steady hand. In Shakespeare on Love and Lust, noted scholar Maurice Charney delves deeply into Shakespeare's rhetorical and thematic development of this largest of subjects to reveal what makes his plays and poems resonate with contemporary audiences. The paradigmatic star-crossed lovers of Romeo and Juliet, the comic confusions of couples wandering through the wood in A Midsummer Night's Dream, Othello's tragic jealousy, the homoerotic ways Shakespeare played with cross-dressing on the Elizabethan stage—Charney explores the world in which Shakespeare lived, and how it is reflected and transformed in the one he created. While focusing primarily on desire between young lovers, Charney also explores themes of love in marriage (Brutus and Portia) and in same-sex pairings (Antonio and Sebastian). Against the conventions of Renaissance literature, Shakespeare qualified the Platonic view that true love transcends the physical. Instead, as Charney demonstrates, love in Shakespeare's work is almost always sexual as well as spiritual, and the full range of desire's dramatic possibilities is displayed. Shakespeare on Love and Lust begins by considering the ways in which Shakespeare drew upon and satirized the conventions of Petrarchan Renaissance love poetry in plays like Romeo and Juliet, then explores how courtship is woven into the basic plot formula of the comedies. Next, Charney examines love in the tragedies and the enemies of love (Iago, for example). Later chapters cover the gender complications in such plays as Macbeth and The Taming of the Shrew as well as the homoerotic themes woven into many of the poems and plays. Charney concludes with a lively discussion of paradoxes and ambivalences about love expressed by Shakespeare's word play and sexual innuendoes.
The Comic World of the Marx Brothers' Movies: Anything Further Father? is the first book to consider the Marx Brothers in the context of comic theory and practice. It includes a gag analysis of three famous scenes: the stateroom scene in A Night at the Opera, the mirror scene in Duck Soup, and the tootsie-frootsie ice cream scene in A Day the Races.
The definitive history of the Communist Party USA, revealing how its members contributed to struggles for justice and equality in America even as they championed a brutal, totalitarian state, the USSR After generations in the shadows, socialism is making headlines in the United States, following the Bernie Sanders presidential campaigns and the election of several democratic socialists to Congress. Today’s leftists hail from a long lineage of anti-capitalist activists in the United States, yet the true legacy and lessons of their most radical and controversial forebears, the American Communists, remain little understood. In Reds, historian Maurice Isserman focuses on the deeply contradictory nature of the history of the Communist Party USA (CPUSA), a movement that attracted egalitarian idealists and bred authoritarian zealots. Founded in 1919, the CPUSA fought for a just society in America: members organized powerful industrial unions, protested racism, and moved the nation left. At the same time, Communists maintained unwavering faith in the USSR’s claims to be a democratic workers’ state and came to be regarded as agents of a hostile foreign power. Following Nikita Khrushchev’s revelation of Joseph Stalin’s crimes, however, doubt in Soviet leadership erupted within the CPUSA, leading to the organization’s decline into political irrelevance. This is the balanced and definitive account of an essential chapter in the history of radical politics in the United States.
The global community is negatively impacted on a large-scale with tens of millions of people world-wide suffering from major depression. Economic growth is being stunted and lifestyles and lives crippled. Unfortunately, it is not clear what the myriads of causative factors are. Is it stress alone or stress caused by medical or psychological disorders or unknown combinations of these and other factors? This book tackles these issues head on by presenting the latest research findings in this pandemic.
Struggling to make sense of the Revolution of 1789, the French in the nineteenth century increasingly turned to visual forms of historical representation in a variety of media. Maurice Samuels shows how new kinds of popular entertainment introduced during and after the Revolution transformed the past into a spectacle. The wax display (in which visitors circulated amid life-size statues of historical figures), the phantasmagoria show (in which images of historical personages were projected onto smoke or invisible screens), and the panorama (in which spectators viewed giant circular canvases depicting historical scenes) employed new optical technologies to entice crowds of spectators. Such entertainments, Samuels asserts, provided bourgeois audiences with an illusion of mastery over the past, allowing them to picture their new role as historical agents.Samuels demonstrates how the spectacular mode of historical representation pervaded historiography, drama, and the novel during the Romantic period. He then argues that the early Realist fiction of Balzac and Stendhal emerged as a critique of the spectacular historical imagination. By investigating how postrevolutionary France envisioned the past, Samuels illuminates a vital moment in the cultural history of modernity.
Fostering knowledgeable, responsible, and caring students is one of the most urgent challenges facing schools, families, and communities. Promoting Social and Emotional Learning provides sound principles for meeting this challenge. Students today face unparalleled demands. In addition to achieving academically, they must learn to work cooperatively, make responsible decisions about social and health practices, resist negative peer and media influences, contribute constructively to their family and community, function in an increasingly diverse society, and acquire the skills, attitudes, and values necessary to become productive workers and citizens. A comprehensive, integrated program of social and emotional education can help students meet these many demands. The authors draw upon scientific studies, theories, site visits, and their own extensive experiences to describe approaches to social and emotional learning at all levels. Framing the discussion are 39 concise guidelines, as well as many field-inspired examples for classrooms, schools, and districts. Chapters address how to develop, implement, and evaluate effective strategies. Educators who have programs in place will find ways to strengthen them. Those seeking further direction will find an abundance of approaches and ideas. Appendixes include a curriculum scope for preschool through grade 12 and an extensive list of contacts that readers may follow up on for firsthand knowledge about effective social and emotional programs. The authors of Promoting Social and Emotional Learning are members of the Research and Guidelines Work Group of the Collaborative for the Advancement of Social and Emotional Learning (CASEL).
But in a fiction, in a dream of passion..." In an extended commentary on this passage this book offers a rationale for the excellence and primacy of this play among the tragedies. Throughout, emphasis is placed on Hamlet's fantasies and imaginations rather than on ethical criteria, and on the depiction of Hamlet as a revenge play through an exploration of its dark and mysterious aspects. The book stresses the importance of Passion and Its Fictions in the play and attempts to explore the very Pirandellian topic of Hamlet's passion and dream of passion. It goes on to examine the organization of dramatic energies in the play - the use Shakespeare makes of analogy and infinite regress and of scene rows, broken scenes and impacted scenes, and the significance of the exact middle of Hamlet. The final section is devoted to conventions of style, imagery, and genre in the play - what is the stage situation of asides, soliloguies, and offstage speech? How is the imagery of skin disease and sealing distinctive? In what sense is Hamlet a comedy, or does it use comedy significantly?
Shakespeare was acutely aware of our struggles with aging. His dramatic characters either prosper or suffer according to their relationship with maturity, and his sonnets explore time's ravaging effects. "Wrinkled deep in time" is how the queen describes herself in Antony and Cleopatra, and at the end of King Lear, there is a tragic sense that both the king and Gloucester have acquired a wisdom they otherwise lacked at the beginning of the play. Even Juliet matures considerably before she drinks Friar Lawrence's potion, and Macbeth and his wife prematurely grow old from their murderous schemes. This book investigates patterns of aging in Shakespeare, exploring the fulfillment or distress of Shakespeare's characters in combination with their mental and physical decline. Comparing the characterizations of elderly kings and queens, older lovers, patriarchal men, matriarchal women, and the senex -- the stereotypical old man of Roman comedy -- with the history of life expectancy in Shakespeare's England, the book uncovers similarities and differences between our attitudes toward aging then and now.
The result was a powerful current of skepticism with extraordinary consequences. Combined with late-seventeenth-century developments in other areas of thought and writing, it produced skepticism about the possibility of gaining any historical knowledge at all." "Joining the history of ideas to the history of journalism and publishing, Dooley sets out to discover when early modern people believed their political informants and when they did not."--BOOK JACKET.
The revolution reconsidered -- France's Jewish star -- Universalism in Algeria -- Zola and the Dreyfus affair -- The Jew in Renoir's La grande illusion -- Sartre's "Jewish question"--Finkielkraut, Badiou, and the "new antisemitism" -- Conclusion: "Je suis juif
Maurice and I created this guidebook to assist international lawyers and law students seeking to master, or at least to decipher, the Latin recurrently injected into our profession's already arcane argot. It may seem strange that a reference book-sized niche remains in the twenty-first century given the profusion of legal reference works, but the fact remains that recognizing the need for a guidebook like this one is a little uncomfortable. The use of Latin in international legal writing is supposed to appear natural, if not inevitable. We typically pepper our writings with Latin as if the dead language were cayenne in a jambalaya-the more the better. Yet, at some level we are all aware that we often obscure rather than clarify our meaning when we use it instead of plain English. And when we get the Latin right, which we frequently do, and pronounce the words without butchering them beyond all hope of recognition, which we occasionally do, the practice nonetheless tends to baffle law students and even experienced international lawyers unschooled in the vernacular of Cicero. Aspiring international lawyers may wonder about the ubiquity of Latin in international legal discourse in the first place. It may seem that the esoterism of such a prevalent practice can only be intentional. The official explanation is that much early international law was developed by the Roman Empire, and the much admired Roman civil law has found its way by analogy into public international law wherever a lacuna or ambiguity in the principles of international law arose.1 When combined with the fact that Latin was the scholarly lingua franca of most of Europe during international law's early development, international lawyers have inherited an even better-stocked arsenal of Latin phrases and terms than other lawyers"--
As knowledge of Latin continues to diminish, the constant use of this language in cases, textbooks, treaties and scholarly works baffles law students, practitioners, and scholars alike. Most of the Latin terms commonly used by international lawyers are not included in some of the more popular law dictionaries. Terms and phrases included in modern dictionaries usually offer nothing more than a literal translation without sufficient explanation or context provided. Guide to Latin in International Law provides a comprehensive approach and includes both literal translations and definitions with several useful innovations. Included is not only the modern English pronunciation but also the classical or "restored" pronunciation. Its etymology is more complete than the leading law dictionary on the market, and the definition for each term includes examples used in context whenever helpful. Each entry is also cross-referenced to related terms for ease of use. The editors make clear that the understanding of Latin is a critical skill for practitioners who hope to acquire and understand sources of law and each other.
‘This is the original game of thrones’ George R.R. Martin From the publishers that brought you A Game of Thrones comes the series that inspired George R.R. Martin’s epic work.
“This is the original Game of Thrones.” George R.R. Martin. A collection of the first three books in Maurice Druon’s epic historical fiction series, The Accursed Kings.
First Published in 2002. It is easy to see that we are living in a time of rapid and radical social change. It is much less easy to grasp the fact that such change will inevitably affect the nature of those disciplines that both reflect our society and help to shape it. Yet this is nowhere more apparent than in the central field of what may, in general terms, be called literary studies. ‘New Accents’ is intended as a positive response to the initiative offered by such a situation. Each volume in the series will seek to encourage rather than resist the process of change. To stretch rather than reinforce the boundaries that currently define literature and its academic study.
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