How could Max Miller reduce an audience to helpless laughter just by talking about a fan dancer and her fan? Why do club audiences howl with glee at Bernard Manning's violent jokes about Pakistanis? What made audiences break out into fights at Alexei Sayle's early gigs? How did stand-up comedy begin and why has it exploded into such a huge industry now encompassing a criss-crossing network of clubs, concerts, television and radio? And what happens to a comedian when he or she steps out onto a stage and begins performing in front of an audience? Stand-Up! is the first book to both analyse the background of stand-up and take us inside the world of being a solo comedian. Oliver Double writes a lively history of the traditions of British stand-up comedy - from its roots in music hall and variety to today's club and alternative comedy scene - and also a serious exploration of what it is like to be a comedian on-stage in front of a sometimes adoring and sometimes hostile audience. He looks critically at the work of such stand-up stars as Frankie Howerd, Les Dawson, Billy Connolly, Victoria Wood, Ben Elton and Eddie Izzard. And he looks at himself as a performer.
There's a new set of twin boys on the scene, and like Sammie and Charlie, these twins are almost identical. Charlie's friends, and the popular kids, are quick to accept the cuter boy. But when a bonfire on the beach gets out of control, Charlie's group blames it on the other twin. Both Sammie and Charlie know he isn’t the boy to blame, but will they have the courage to come forward to tell the truth and double-cross the popular kids?
This is the kind of book that troubles grey-suited committees of academic peers. It's too enjoyable. But that, given its subject, is just what it ought to be, and it treats that subject seriously . . . There isn't a “dull” page anywhere in the book.' – Professor Peter Thomson, Studies in Theatre and Performance Comedy is changing: stand-up comedians routinely sell out stadia, their audience-figures swollen by panel-show appearances and much-followed Twitter feeds. Meanwhile, the smaller clubs are filling up, with audiences as well as aspirants. How can we make sense of it all? This new edition of Getting the Joke gives an insider's look at the spectrum of modern comedy, re-examining the world of stand-up in the internet age. Drawing on his acclaimed first edition, Oliver Double focuses in greater detail on the US scene and its comedians (such as David Cross, Sarah Silverman, Louis CK, Demetri Martin and Margaret Cho); the 'DIY' comedy circuit and its celebrated apostles and visionaries, from Josie Long to Stewart Lee; the growing importance of the solo stand-up show; the role played by Twitter (including an interview with the organiser of the world's first comedy gig on Twitter), and the driving force that is the TV guest slot, be it on Mock the Week or Live at the Apollo. With expanded sections on joke construction, as well as ways to challenge the audience, and a host of new and updated exercises to guide the aspiring comedian, this new edition of Getting the Joke is the only book to combine the history of stand-up comedy with an analysis of the elements and methods that go into its creation. Featuring a range of interviews with working comedians – from circuit veterans to new kids on the block – combined with the author's vast experience, this is a must read for any aspiring stand-up comedian.
An examination of the art of stand-up comedy, its constituent parts and how they work Considering stand-up comedy to be an art-form deserving greater attention and analysis, Getting the Joke provides an exploration of the work of the stand-up comedian. Beginning with a brief history of the art form, the book goes on to examine the key elements, such as the comedian's stage persona, their material and how this is generated, the art of performance, their relationship to and interaction with the audience, and the development of stand-up skills. The book draws on interviews with many of the leading stand-up comedians, including Jo Brand, Alexei Sayle, Ross Noble and Rhona Cameron, and contains detailed analysis of examples from both the British and American markets. Aimed at fans of stand-up and aspiring comedians alike, Getting the Joke is the first book of its kind to offer an accessible and engaging analysis of the art of stand-up comedy. By the author of Stand-Up: On Being a Comedian - 'a fantastic book for anyone who's got any interest in stand-up comedy' (Mark Lamarr)
In the first major academic work to examine British variety theatre, Double provides a detailed history of this art form and analyses its performance dynamics and techniques. Encompassing singers, comedians, dancers, magicians, ventriloquists and diverse speciality acts, this vibrant book draws on a series of new interviews with variety veterans.
In the late 1970s, the alternative comedy scene exploded into life in Britain and completely changed the style, subject matter and politics of British stand-up. Contemporary critics talked about it as 'anti-matter comedy' that 'makes you laugh while actually rearranging large chunks of your brain'. This book draws on a wealth of archive material – including unpublished recordings of early performances – and new interviews with key figures such as Alexei Sayle, Andy de la Tour and Jim Barclay, to provide a detailed history of the early scene and an examination of the distinctive modes of performance style which developed. Beginning with its origins, the volume traces the influence of American stand-up, and in particular the significance of Mort Sahl and Lenny Bruce as the originators of a style of stand-up that influenced the British pioneers of alternative comedy. It shows how the opening of the Comedy Store in 1979 provided a catalyst for a new movement, which grew outward from there with the foundation of the group Alternative Cabaret and the opening of the Comic Strip. But it also looks at smaller venues and less celebrated acts that have not been as well remembered, including ranting poets and street performers. Finally, it looks at alternative comedy's legacy, showing how it was the starting point for the UK's thriving and varied live scene, which encompasses anything from small pub gigs to huge arena tours.
After double-crossing her friends to support her twin sister, Charlie is out of the popular group. But now her school has announced that they are accepting applications for a new school Junior Booster club--one in which members will get to shadow the Senior Boosters, receive tickets to all the high school football games, and of course, get to meet the cute football players. The popular kids need Charlie to fit the requirements: good grades, an interest in sports, and community service. Charlie's flattered, but are the girls just using her to get what they want?
This book is about the reality of blackjack. It's a true life story about Oliver Galang who used to be known as a "high roller." It talks about all the money, all the strippers, and all the adventures in gambling. It also talks about his past strategies and how it all went down. If you're going to buy a book about blackjack or card counting, this is the book to buy! You can also see a news interview that he had in San Diego on KUSI: http://www.youtube.com/watch?v=BCkhpuWw-RgAlso check out his interview regarding his new book, "My Life: Gambling, Strippers, Bankruptcy, and Suicide."http://www.youtube.com/watch?v=P8Y71L-2fBk
As part of the discovery of cognitive science, teachers are waking up to the powers of dual coding - combining words with visuals in your teaching. But cognitive scientists aren't graphic designers, and so their books don't show teachers how to be competent in producing effective visuals. There is a huge gap between what we know about dual coding and the skills needed to practice it effectively in the classroom. Until now.Dual Coding With Teachers is a breakthrough educational book. No other book has been designed with both cognitive science and graphic principles in mind. Every page contains diagrams, infographics, illustrations and graphic organisers. The book is designed to cater for both the busy teacher in a rush, as well as the research-hungry colleague. Over 35 teachers, teacher developers, psychologists and information designers are profiled, each with a double-page spread, highlighting their dual coding practice.The author, Oliver Caviglioli, is uniquely placed to bridge the gap between education and graphic design. A former special school head teacher, Oliver learned design principles from an early age from his architect and typographer father. Four decades of reading educational research has found its visual expression in this spectacular, image-rich book.
. . . both an excellent introduction and a thoroughgoing analysis of Kristeva's writing." —Signs "The book is a brilliant combination of a recuperative and a critical reading of Kristeva's work." —Changes: An International Journal of Psychology & Psychotherapy " . . . a thorough, detailed, and critical analysis of the writings of Julia Kristeva." —Elizabeth Grosz ". . . the most involved and engaging study of Julia Kristeva's work to date . . ." —The Year's Work in Critical and Cultural Theory This first full-scale feminist interpretation of Kristeva's work situates her within the context of French feminism. Oliver guides her readers through Kristeva's intellectual formation in linguistics, Freud, Lacan, and poetics. This comprehensive introduction to Kristeva makes accessible her important contributions to philosophy, linguistics, and psychoanalytic feminism.
Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 1,4, University of Göttingen, language: English, abstract: When Melville wrote "Bartleby, The Scrivener", he was in a state of intense despair and a feeling of rejection had come over him because his former works such as "Moby Dick" and "Pierre" had not received the attention and appreciation he had expected. Many critics consider Melville‘s failure to reach the contemporary readership to have influenced his later works such as the "Piazza Tales" (Dan McCall, The Silence Of Bartleby., p. 38). Some even regard the figure of Bartleby as a personification of the author (Robert Rogers, A Psychoanalytic Reading Of The Double In Literature. Detroit/Michigan: Wayne State Univ. Press, 1970, p. 67-68). Most critics agree that Bartleby is one of the most interesting characters of nineteenth century literature, also from a psychological point of view. In contrast to religious, philological or other approaches, psychoanalytic criticism is an especially anachronistic approach: Melville did not have the means of modern psychology to describe and explain such illnesses as schizophrenia, autism and similar personality disorders. "Bartleby, The Scrivener" is a fictional work of art while a psychological explanation of Bartleby’s illness is scientific. In psychoanalytic criticism there are three possible objects of analysis: The author (a so-called psycho-biographical approach), the fictional characters and the readership (Oxford Encycl 823). My main focus will be on the figure of Bartleby along with the narrator who is considered by some critics to be a „psychological double“ of Bartleby and vice-versa (Rogers, Psychological Double, p. 67). Firstly, I will draw a rough summary of the transition from moral philosophy to psychology and situate Melville in that historical context and show how this influenced his worldview and accordingly, his works. Then I will make brief definitions of the mental illnesses schizophrenia and autistic disorder which are relevant for my textual analysis. The main body of this work will be the textual (psycho-)analysis of "Bartleby, The Scrivener", where I will try to determine in how far Bartleby is mentally ill, how Melville reflects this fact in his language and imagery and which role the narrator plays in this context.
Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 1,4, University of Göttingen, language: English, abstract: When Melville wrote "Bartleby, The Scrivener", he was in a state of intense despair and a feeling of rejection had come over him because his former works such as "Moby Dick" and "Pierre" had not received the attention and appreciation he had expected. Many critics consider Melville's failure to reach the contemporary readership to have influenced his later works such as the "Piazza Tales" (Dan McCall, The Silence Of Bartleby., p. 38). Some even regard the figure of Bartleby as a personification of the author (Robert Rogers, A Psychoanalytic Reading Of The Double In Literature. Detroit/Michigan: Wayne State Univ. Press, 1970, p. 67-68). Most critics agree that Bartleby is one of the most interesting characters of nineteenth century literature, also from a psychological point of view. In contrast to religious, philological or other approaches, psychoanalytic criticism is an especially anachronistic approach: Melville did not have the means of modern psychology to describe and explain such illnesses as schizophrenia, autism and similar personality disorders. "Bartleby, The Scrivener" is a fictional work of art while a psychological explanation of Bartleby's illness is scientific. In psychoanalytic criticism there are three possible objects of analysis: The author (a so-called psycho-biographical approach), the fictional characters and the readership (Oxford Encycl 823). My main focus will be on the figure of Bartleby along with the narrator who is considered by some critics to be a "psychological double" of Bartleby and vice-versa (Rogers, Psychological Double, p. 67). Firstly, I will draw a rough summary of the transition from moral philosophy to psychology and situate Melville in that historical context and show how this influenced his worldview and accordingly, his works. Then I will make brief definitions of the mental ill
The present volume gives a systematic treatment of potential functions. It takes its origin in two courses, one elementary and one advanced, which the author has given at intervals during the last ten years, and has a two-fold purpose: first, to serve as an introduction for students whose attainments in the Calculus include some knowledge of partial derivatives and multiple and line integrals; and secondly, to provide the reader with the fundamentals of the subject, so that he may proceed immediately to the applications, or to the periodical literature of the day. It is inherent in the nature of the subject that physical intuition and illustration be appealed to freely, and this has been done. However, that the book may present sound ideals to the student, and in order also serve the mathematician, both for purposes of reference and as a basis for further developments, the proofs have been given by rigorous methods. This has led, at a number of points, to results either not found elsewhere, or not readily accessible. Thus, Chapter IV contains a proof for the general regular region of the divergence theorem (Gauss', or Green's theorem) on the reduction of volume to surface integrals. The treatment of the fundamental existence theorems in Chapter XI by means of integral equations meets squarely the difficulties incident to ·the discontinuity of the kernel, and the same chapter gives an account of the most recent developments with respect to the Dirichlet problem.
This book offers a concise introduction to the field of financial economics and presents, for the first time, recent behavioral finance research findings that help us to understand many puzzles in traditional finance. Tailor-made for master’s and PhD students, it includes tests and exercises that enable students to keep track of their progress. Parts of the book can also be used at the bachelor level.
Collins Cambridge IGCSE ® Accounting Teacher’s Guide supports the Student’s Book and Workbook by providing full and comprehensive guidance on how to teach the course, with clear lesson notes and syllabus information.
Success in Accounting begins here! The technical details you need to know and decision-making processes you need to understand, with plain-language explanations and unlimited practice. Financial Accounting is an engaging resource that focuses on current accounting theory and practice in Australia, within a business context. It emphasises how financial decision-making is based on accurate and complete accounting information and uses case studies to illustrate this in a practical way. The new 7th edition is accurate and up to date, guided by extensive technical review feedback and incorporating the latest Australian Accounting Standards. It also provides updated coverage of some of the most significant current issues in accounting such as ethics, information systems and sustainability.
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