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Books > Language & Literature > Literature: texts > General
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Start Me Up
(Paperback)
Jeannie Edmunds
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R517
R426
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Theatre in Dublin,1745-1820: A Calendar of Performances is the
first comprehensive, daily compendium of more than 18,000
performances that took place in Dublin's many professional
theatres, music halls, pleasure gardens, and circus amphitheatres
between Thomas Sheridan's becoming the manager at Smock Alley
Theatre in 1745 and the dissolution of the Crow Street Theatre in
1820. The daily performance calendar for each of the seventy-five
seasons recorded here records and organizes all surviving
documentary evidence pertinent to each evening's entertainments,
derived from all known sources, but especially from playbills and
newspaper advertisements. Each theatre's daily entry includes all
preludes, mainpieces, interludes, and afterpieces with casts and
assigned roles, followed by singing and singers, dancing and
dancers, and specialty entertainments. Financial data, program
changes, rehearsal notices, authorship and premiere information are
included in each component's entry, as is the text of contemporary
correspondence and editorial contextualization and commentary,
followed by other additional commentary, such as the many hundreds
of printed puffs, notices, and performance reviews. In the cases of
the programs of music halls, pleasure gardens, and circuses, the
playbills have generally been transcribed verbatim. The calendar
for each season is preceded by an analytical headnote that presents
several categories of information including, among other things, an
alphabetical listing of all members of each company, whether
actors, musicians, specialty artists, or house servants, who are
known to have been employed at each venue. Limited biographical
commentary is included, particularly about performers of Irish
origin, who had significant stage careers but who did not perform
in London. Each headnote presents the seasons's offerings of
entertainments of each theatrical type (prelude, mainpiece,
interlude, afterpiece) analyzed according to genre, including a
list of the number of plays in each genre and according to period
in which they were first performed. The headnote also notes the
number of different plays by Shakespeare staged during each season
and gives particular attention to entertainments of "special Irish
interest." The various kinds of benefit performance and command
performances are also noted. Finally, this Calendar of Performances
contains an appendix that furnishes a season-by-season listing of
the plays that were new to the London patent theatres, and, later,
of the important "minors." This information is provided in order
for us to understand the interrelatedness of the London and Dublin
repertories.
This book critically analyses Eminem's studio album releases from
his first commercial album release The Slim Shady LP in 1999, to
2020's Music To Be Murdered By, through the lens of storytelling,
truth and rhetoric, narrative structure, rhyme scheme and type,
perspective, and celebrity culture. In terms of lyrical content, no
area has been off-limits to Eminem, and he has written about
domestic violence, murder, rape, child abuse, incest, drug
addiction, and torture during his career. But whilst he will always
be associated with these dark subjects, Mathers has also explored
fatherhood, bereavement, mental illness, poverty, friendship, and
love within his lyrics, and the juxtaposition between these very
different themes (sometimes within the same song), make his lyrics
complex, deep, and deserving of proper critical discussion. The
first full-length monograph concerning Eminem's lyrics, this book
affords the same rigorous analysis to a hip-hop artist as would be
applied to any great writer's body of work; such analysis of
'popular' music is often overlooked. In addition to his rich
exploration of Eminem's lyrics, Fosbraey furthermore delves into a
variety of different aspects within popular music including
extra-verbal elements, image, video, and surrounding culture. This
critical study of his work will be an invaluable resource to
academics working in the fields of Popular Music, English
Literature, or Cultural Studies.
Words, Music, and the Popular: Global Perspectives on Intermedial
Relations opens up the notion of the popular, drawing useful links
between wide-ranging aspects of popular culture, through the lens
of the interaction between words and music. This collection of
essays explores the relation of words and music to issues of the
popular. It asks: What is popularity or 'the' popular and what
role(s) does music play in it? What is the function of the popular,
and is 'pop' a system? How can popularity be explained in certain
historical and political contexts? How do class, gender, race, and
ethnicity contribute to and complicate an understanding of the
'popular'? What of the popularity of verbal art forms? How do they
interact with music at particular times and throughout different
media?
This collection provides students and researchers with a new and
lively understanding of the role of institutions in the production,
reception, and meaning of literature in the period 1700-1900. The
period saw a fundamental transition from a patronage system to a
marketplace in which institutions played an important mediating
role between writers and readers, a shift with consequences that
continue to resonate today. Often producers themselves,
institutions processed and claimed authority over a variety of
cultural domains that never simply tessellated into any unified
system. The collection's primary concerns are British and imperial
environments, with a comparative German case study, but it offers
encouragement for its approaches to be taken up in a variety of
other cultural contexts. From the Post Office to museums, from
bricks and mortar to less tangible institutions like authorship and
genre, this collection opens up a new field for literary studies.
Ritmes En Rites is ʼn keur uit die koerantrubrieke van Cas Wepener wat die afgelope sewe jaar in die dagblaaie Beeld en Die Burger, aanlyn op Netwerk24, asook in Vrye Weekblad verskyn het.
Met sy pen verken hy die alledaagse lewens van Suid-Afrikaners, die netwerk verhoudings waarin hulle staan en karteer so veranderende tye.
This collection opens the geospatiality of "Asia" into an
environmental framework called "Oceania" and pushes this complex
regional multiplicity towards modes of trans-local solidarity,
planetary consciousness, multi-sited decentering, and world
belonging. At the transdisciplinary core of this "worlding" process
lies the multiple spatial and temporal dynamics of an environmental
eco-poetics, articulated via thinking and creating both with and
beyond the Pacific and Asia imaginary.
This book shows how diverse, critical modern world narratives in
prose fiction and film emphasize masculine subjectivities through
affects and ethics. Highlighting diverse affects and mental states
in subjective voices and modes, modern narratives reveal men as
feeling, intersubjective beings, and not as detached masters of
master narratives. Modern novels and films suggest that masculine
subjectivities originate paradoxically from a combination of
copying and negation, surplus and lack, sameness and alterity:
among fathers and sons, siblings and others. In this comparative
study of more than 30 diverse world narratives, Mooney deftly uses
psychoanalytic thought, narrative theories of first- and
third-person narrators, and Levinasian and feminist ethics of care,
creativity, honor, and proximity. We gain a nuanced picture of
diverse postpaternal postgentlemen emerging out of older character
structures of the knight and gentleman.
This volume is a study of human entanglements with Nature as seen
through the mode of haunting. As an interruption of the present by
the past, haunting can express contemporary anxieties concerning
our involvement in the transformation of natural environments and
their ecosystems, and our complicity in their collapse. It can also
express a much-needed sense of continuity and relationality. The
complexity of the question-who and what gets to be called human
with respect to the nonhuman-is reflected in these collected
chapters, which, in their analysis of cinematic and literary
representations of sentient Nature within the traditional gothic
trope of haunting, bring together history, race, postcolonialism,
and feminism with ecocriticism and media studies. Given the growing
demand for narratives expressing our troubled relationship with
Nature, it is imperative to analyze this contested ground. "Chapter
6" is available open access under a Creative Commons Attribution
4.0 International License via link.springer.com.
The creation of texts preserves culture, literature, myth, and
society, and provides invaluable insights into history. Yet we
still have much to learn about the history of how those texts were
produced and how the production of texts has influenced modern
societies, particularly in smaller nations like Wales. The story of
publishing in Wales is closely connected to the story of Wales
itself. Wales, the Welsh people, and the Welsh language have
survived invasion, migration, oppression, revolt, resistance,
religious and social upheaval, and economic depression. The books
of Wales chronicle this story and the Welsh people's endurance over
centuries of challenges. Ancient law-books, medieval manuscripts,
legends and myths, secretly printed religious works, poetry, song,
social commentary, and modern novels tell a story of a tiny nation,
its hardy people, and an enduring literary legacy that has an
outsized influence on culture and literature far beyond the Welsh
borders.
Scholars of the Gothic have long recognised Blake's affinity with
the genre. Yet, to date, no major scholarly study focused on
Blake's intersection with the Gothic exists. William Blake's gothic
imagination seeks to redress this disconnect. The papers here do
not simply identify Blake's Gothic conventions but, thanks to
recent scholarship on affect, psychology, and embodiment in Gothic
studies, reach deeper into the tissue of anxieties that take
confused form through this notoriously nebulous historical,
aesthetic, and narrative mode. The collection opens with papers
touching on literary form, history, lineation, and narrative in
Blake's work, establishing contact with major topics in Gothic
studies. Then refines its focus to Blake's bloody, nervous bodies,
through which he explores various kinds of Gothic horror related to
reproduction, anatomy, sexuality, affect, and materiality. Rather
than transcendent images, this collection attends to Blake's 'dark
visions of torment'. -- .
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