More than ten years in the making, this comprehensive single-volume literary survey is for the student, scholar, and general reader. The Continuum Encyclopedia of American Literature represents a collaborative effort, involving 300 contributors from across the US and Canada. Composed of more than 1,100 signed biographical-critical entries, this Encyclopedia serves as both guide and companion to the study and appreciation of American literature. A special feature is the topical article, of which there are 70.
A guide to modern world authors provides a brief biographical profile, a list of each writer's works, and an assessment of their contribution to literature
Here's my promise to you. Everything you read in these pages is my true lived experience. I'm sharing my life with you so you will be able to see what I see, know what I know, and understand what I believe. I guarantee you that, at some points along the way, you will reject my words. You'll reject what I say out of hand. I know you will. I know that my story seems crazy. I won't blame you if you don't want to listen, or if, even when you listen, you don't believe me. My words are tough words. My story is really strange. My life is like something out of a science fiction movie, only stranger even than that.
With their lavish costumes and sets, ebullient song and dance numbers, and iconic movie stars, the musicals that mgm produced in the 1940s seem today to epitomize camp. Yet they were originally made to appeal to broad, mainstream audiences. In this lively, nuanced, and provocative reassessment of the mgm musical, Steven Cohan argues that this seeming incongruity—between the camp value and popular appreciation of these musicals—is not as contradictory as it seems. He demonstrates that the films’ extravagance and queerness were deliberate elements and keys to their popular success. In addition to examining the spectatorship of the mgm musical, Cohan investigates the genre’s production and marketing, paying particular attention to the studio’s employment of a largely gay workforce of artists and craftspeople. He reflects on the role of the female stars—including Judy Garland, Debbie Reynolds, Esther Williams, and Lena Horne—and he explores the complex relationship between Gene Kelley’s dancing and his masculine persona. Cohan looks at how, in the decades since the 1950s, the marketing and reception of the mgm musical have negotiated the more publicly recognized camp value attached to the films. He considers the status of Singin’ in the Rain as perhaps the first film to be widely embraced as camp; the repackaging of the musicals as nostalgia and camp in the That’s Entertainment! series as well as on home video and cable; and the debates about Garland’s legendary gay appeal among her fans on the Internet. By establishing camp as central to the genre, Incongruous Entertainment provides a new way of looking at the musical.
This book has explored what a divine principle of equal abundance might look like and what implications it might have for human beings including our connectedness to a loving and benevolent God, our connectedness to each other, our personal growth, health, and well-being, and our place in the natural world. Although these issues have great importance for our survival and well-being as individuals and as a species, divine principles such as Gods love and equal abundance do not allow us to predict with precision what is in store for human beings in the future.
**revised 20th August** North and the West have struggled to reconcile since the murder of Queen Serafin, the young king continues in his late father's footsteps keeping Colltalios free from dangers, and as the years passed by peace has prevailed, despite the mounting tension between the young king and the new leader of the North. Maintaining control of the realms soon becomes much more difficult, strange events in far northern sectors prompt the king the try and form an allegiance with the would be defectors, but it won't be as simple as that. The problems in Colltalios are only just beginning, a discovery of great magnitude could be about to change Colltalios forever, can the realms unite and put aside their differences before it is too late?
Introduced by a comprehensive account of the factors governing the adaptation of stage plays and musicals in Hollywood from the early 1910s to the mid-to-late 1950s, Screening the Stage consists of a series of chapter-length studies of feature-length films, the plays and musicals on which they were based, and their remakes where pertinent. Founded on an awareness of evolving technologies and industrial practices rather than the tenets of adaptation theory, particular attention is paid to the evolving practices of Hollywood as well as to the purport and structure of the plays and stage musicals on which the film versions were based. Each play or musical is contextualized and summarized in detail, and each film is analyzed so as to pinpoint the ways in which they articulate, modify, or rework the former. Examples range from dramas, comedies, melodramas, musicals, operettas, thrillers, westerns and war film, and include The Squaw Man, The Poor Little Rich Girl, The Merry Widow, 7th Heaven, The Cocoanuts, Waterloo Bridge, Stage Door, I Remember Mama, The Pirate, Dial M for Murder and Attack.
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