Dolly Parton is a country music legend, but also one of America's most beloved celebrities. Her warmth, spirit, and no-nonsense advice is embraced by millions of people who love her positive personality and encouraging attitude. In this colouring book, Dolly's inspiring words will be paired with equally inspiring designs to colour. Sample quotations include: "The way I see it, if you want the rainbow, you gotta put up with the rain." "If you don't like the road you're walking, start paving another one." "You'd be surprised how much it costs to look this cheap!" This clever and lovely colouring book series combines quotations from beloved wise women with beautiful black- and-white illustrations. In an attractive paperback format with foil embellishments, these books stand on their own as lovely art objects and impressive gifts.

Arts of Resistance is an original exploration that extends beyond the arts into the context of politics and political change. In three wide-ranging exchanges prompted by American blues singer Linda MacDonald-Lewis, artist Alexander Moffat and poet Alan Riach, discuss cultural, political and artistic movements, the role of the artist in society and the effect of environment on artists from all disciplines. Arts of Resistance examines the lives and work of leading figures from Scotland's arts world in the twentieth century, concentrating on poets and artists but also including writers, musicians and architectural visionaries such as Charles Rennie Mackintosh and Patrick Geddes. Poets studied include Hugh MacDiarmid, Sorley MacLean, Iain Crichton Smith, Edwin Morgan and Liz Lochhead; artists include William McTaggart, William Johnstone and the Scottish Colourists. The investigation into the connection between the arts and political culture includes historical issues, from British imperialism to a devolved Scotland. Finally, the contribution to poetry and art of each major Scottish city is discussed: Edinburgh, Glasgow, Aberdeen, Dundee. Highly illustrated with paintings and poems, Arts of Resistance is a beautifully produced book providing facts and controversial opinions.

Allegory Studies: Contemporary Perspectives collects some of the most compelling current work in allegory studies, by an international team of researchers in a range of disciplines and specializations in the humanities and cognitive sciences. The volume tracks the subject across disciplinary, cultural, and period-based divides, from its shadowy origins to its uncertain future, and from the rich variety of its cultural and artistic manifestations to its deep cognitive roots. Allegory is everything we already know it to be: a mode of literary and artistic composition, and a religious as well as secular interpretive practice. As this volume attests, however, it is much more than that-much more than a sum of its parts. Collectively, the phenomena we now subsume under this term comprise a dynamic cultural force which has left a deep imprint on our history, whose full impact we are only beginning to comprehend, and which therefore demands precisely such dedicated cross-disciplinary examination as this book seeks to provide.

This book examines the dynamic landscape of creative educations in Asia, exploring the intersection of post-coloniality, translation, and creative educations in one of the world's most relevant testing grounds for STEM versus STEAM educational debates. Several essays attend to one of today's most pressing issues in Creative Writing education, and education generally: the convergence of the former educational revolution of Creative Writing in the anglophone world with a defining aspect of the 21st-century-the shift from monolingual to multilingual writers and learners. The essays look at examples from across Asia with specific experience from India, Singapore, China, Hong Kong, the Philippines and Taiwan. Each of the 14 writer-professor contributors has taught Creative Writing substantially in Asia, often creating and directing the first university Creative Writing programs there. This book will be of interest to anyone following global trends within creative writing and those with an interest in education and multilingualism in Asia.

Laurence Coupe offers students a comprehensive overview of the development of myth, showing how mythic themes, structures and symbols persist in literature and entertainment today. This introductory volume: illustrates the relation between myth, culture and literature with discussions of poetry, fiction, film and popular song explores uses made of the term 'myth' within the fields of literary criticism, anthropology, cultural studies, feminism, Marxism and psychoanalysis discusses the association between modernism, postmodernism, myth and history familiarizes the reader with themes such as the dying god, the quest for the Grail, the relation between 'chaos' and 'cosmos', and the vision of the end of time demonstrates the growing importance of the green dimension of myth. Fully updated and revised in this new edition, Myth is both a concise introduction and a useful tool to students first approaching the topic, while also a valuable contribution to the study of myth.

Hans Giebernath lives among the dull and respectable townsfolk of a sleepy Black Forest village. When he is discovered to be an exceptionally gifted student, the entire community presses him onto a path of serious scholarship. Hans dutifully follows the regimen of study and endless examinations, his success rewarded only with more crushing assignments. When Hans befriends a rebellious young poet, he begins to imagine other possibilities outside the narrowly circumscribed world of the academy. Finally sent home after a nervous breakdown, Hans is revived by nature and romance, and vows never to return to the gray conformity of the academic system.

Comics and human mobility have a long history of connections. This volume explores these entanglements with a focus on both how comics represent migration and what applied uses comics have in relation to migration. The volume examines both individual works of comic art and examples of practical applications of comics from across the world. Comics are well-suited to create understanding, highlight truthful information and engender empathy in its audiences, but it is also an art form that is preconditioned or even limited by its representational and practical conventions. Through analyses of various practices and representations, this book questions the uncritical belief in the capacity of comics and assesses their potential to represent stories of exile and immigration with compassion and discusses how xenophobia and nationalism are both reinforced and questioned in comics. The book includes essays by both researchers and practitioners like activists and journalists whose work has combined a focus on comics and migration. It predominantly scrutinizes comics and activities from more peripheral areas such as the Nordic region, the German-language countries, Latin America and southern Asia to analyse the treatment and visual representation of migration in these regions. This topical and engaging volume in the Global Perspectives in Comics Studies series will be of interest to researchers and students of comics studies, literary studies, visual art studies, cultural studies, migration, and sociology. It will also be useful reading to a wider academic audience interested in discourses around global migration and comics traditions.

Illuminates unexplored dimensions of the music-literature relationship and the sometimes unrecognized talents of certain famous writers and composers. This book deals with three aspects that have been neglected in the burgeoning field of music and literature. The "First Movement" of the book considers writers from German Romanticism to the present who, like Robert Schumann, first saw themselves as writers before they turned to composition, or, like E. T. A. Hoffmann and Anthony Burgess, sought careers in music before becoming writers. It also considers the few operatic composers, such as Richard Wagner and Arnold Schoenberg, who wrote their own libretti. The "Second Movement" turns to literary works based specifically on musical compositions. This group includes, first and more generally, prose works whose author chose a specificmusical form such as sonata or fugue as an organizational model. And second, it includes novels based structurally or thematically on specific compositions, such as Bach's Goldberg Variations. The "Finale" concludes with aunique case: efforts by modern composers to render musically the compositions described in detail by Thomas Mann in his novel Doktor Faustus. This book, which addresses itself to readers interested generally in music and literature and is written in a reader-friendly style, draws attention to unexplored dimensions of the music-literature relationship and to the sometimes unrecognized talents of certain writers and composers. Theodore Ziolkowski is Professor Emeritus of German and Comparative Literature, Princeton University.

In Pure Pleasure, John Carey, one of Britain's most respected literary critics, introduces us to what he believes are the fifty most enjoyable books of the twentieth century based on sheer reading pleasure. Mixing fiction, nonfiction, and poetry, Carey includes literary heavyweights like James Joyce, Thomas Mann, and T. S. Eliot, as well as more populist writers like Arthur Conan Doyle, Kingsley Amis, and John Updike. Carey also discusses masterpieces like F. Scott Fitzgerald's The Great Gatsby and Gunter Grass's The Tin Drum, alongside lesser-known works like D. H. Lawrence's Twilight in Italy and George Orwell's Coming Up for Air.

In a series of intelligent and fast-moving essays -- each devoted to a single book -- Carey mixes criticism, biography, and cultural context about each selection with illuminations on the author's inspiration and how each work was written. The end result is a book that no one who is passionate about reading should be without.

Shakespeare and Civil Unrest in Britain and the United States extends the growing body of scholarship on Shakespeare's appropriation by examining how the plays have been invoked during periods of extreme social, political, and racial turmoil. How do the ways that Shakespeare is adapted, studied, and discussed during periods of civil conflict differ from wars between nations? And how have these conflicts, in turn, affected how Shakespeare has been understood in these two countries that, more than any others, continue to be deeply shaped by Shakespeare's complex, enduring, and multivalent legacy? The essays in this volume collectively disclose a fascinating genealogy of how Shakespeare became a dynamic presence in factional discourse and explore the "war of words" that has accompanied civil wars and other instances of domestic disturbance. Whether as part of violent confrontations, mutinies, rebellions, or within the universal struggle for civil rights, Shakespeare's repeated appearance during such turbulent moments is more than mere historical coincidence. Rather, its inflections on the contested meanings of citizenship, community, and political legitimacy demonstrate the generative influence of the plays on our understanding of internecine strife in both countries.

This book explores the complexity of Iberian identity and multicultural/multi-religious interactions in the Peninsula through the lens of spells, talismans, and imaginative fiction in medieval and early modern Iberia. Focusing particularly on love magic-which manipulates objects, celestial spheres, and demonic conjurings to facilitate sexual encounters-Menaldi examines how practitioners and victims of such magic as represented in major works produced in Castile. Magic, and love magic in particular, is an exchange of knowledge, a claim to power and a deviation from or subversion of the licit practices permitted by authoritative decrees. As such, magic serves as a metaphorical tool for understanding the complex relationships of the Christian with the non-Christian. In seeking to understand and incorporate hidden secrets that presumably reveal how one can manipulate their environment, occult knowledge became one of the funnels through which cultures and practices mixed and adapted throughout the centuries.

This Companion is a comprehensive examination of the varied ways in which gender issues manifest throughout culture in Japan, using a range of international perspectives to examine private and public constructions of identity, as well as gender- and sexuality-inflected cultural production. The Routledge Companion to Gender and Japanese Culture features both new work and updated accounts of classic scholarship, providing a go-to reference work for contemporary scholarship on gender in Japanese culture. The volume is interdisciplinary in scope, with chapters drawing from a range of perspectives, fields, and disciplines, including anthropology, art history, history, law, linguistics, literature, media and cultural studies, politics, and sociology. This reflects the fundamentally interdisciplinary nature of the dual focal points of this volume-gender and culture-and the ways in which these themes infuse a range of disciplines and subfields. In this volume, Jennifer Coates, Lucy Fraser, and Mark Pendleton have brought together an essential guide to experiences of gender in Japanese culture today-perfect for students, scholars, and anyone else interested in Japan, culture, gender studies, and beyond.

This book offers a theoretical framework for assessing translation quality grounded in supportive argumentation. The volume outlines a systematic framework for translators and translation critics to substantiate their decisions and judgments on a translation's quality and in the case of negative criticism, put forward a more effective translation solution. The book traces the decision-making process underpinning translation practice, considering the different factors surrounding a particular translation to inform the most appropriate translation strategy, such as the temporal and geographical relationship between source and target texts, special provisions required by clients, timeframe, qualifications, and sociocultural and political issues. The framework posits that such factors should underpin any arguments used by the translator in adopting a given strategy and in turn, that any criticism of a translation's quality must be in line with the same argumentative structure. Applied to a corpus of translation examiners' reports of translation, the book demonstrates how this framework can act as a tool to be scaled to fit the needs of the different actors of a translation - translators, critics, and scholars. This book will be of interest to scholars in translation studies and practicing translators.

Imaginative Resistance, Queer Fiction and the Law develops a novel account of how heteronormative sociolegal orders undermine the well-being of same-sex attracted people, even when these normative orders may fall short of coercively interfering with their choices. Queer well-being is generally studied from psychological perspectives, through the concept of 'minority stress.' Taking four texts of mid-century Anglo-American queer fiction as illustrative case studies, this book argues - in a philosophical rather than a psychological register - that heteronormativity also affects queer well-being in more intangible ways. The central claim is that heteronormativity shackles the imagination: it curtails no less the imaginative reach of authors of queer fiction, than our ability - engaged as we are in projects of self-authorship - to make-believe personal futures in which same-sex intimacy is brought to bear on our well-being. The book's central claim re-works a concept central to the philosophy of fiction - 'imaginative resistance' - and puts it into service of questions raised in moral philosophy. Apart from its political and normative implications - strengthening the case for at least some global gay rights - and from challenging some of queer theory's orthodoxies, the book also makes contributions to queer literary history, criticism and biography. Drawing on archival material and personal interviews, fresh readings are offered of Charles Jackson's The Fall of Valor (1946), Gillian Freeman's The Leather Boys (1961), and Patricia Highsmith's The Price of Salt (1952) and The Talented Mr Ripley (1955), making a case for their inclusion in the queer literary canon. Imaginative Resistance, Queer Fiction and the Law will appeal to students of literary criticism, queer sociolegal history, law & literature, the philosophy of fiction, and queer theory, politics and ethics.

First published in 1858, this is the first of three volumes of Howard Staunton's collection of Shakespeare's plays, with black-and-white illustrations by the prolific artist John Gilbert. Staunton's annotated edition, based on the folio and quarto editions collated with the texts of later editors from Rowe to Dyce, combines common sense with meticulous research, making it a definitive resource in its day. Each play is accompanied by an introduction giving details of its original production and publication and the sources of its plot, critical commentary, and footnotes explaining terms and expressions. This volume contains The Two Gentlemen of Verona, Love's Labour's Lost, The Comedy of Errors, Romeo and Juliet, The Taming of the Shrew, King John, A Midsummer Night's Dream, The Merchant of Venice, King Richard II, King Henry IV Part 1, King Henry IV Part II, The Merry Wives of Windsor, and Much Ado About Nothing.

First published in 1860, this is the third and final volume of Howard Staunton's collection of Shakespeare's plays, with black-and-white illustrations by the prolific artist John Gilbert. Staunton's annotated edition, based on the folio and quarto editions collated with the texts of later editors from Rowe to Dyce, combines common sense with meticulous research, making it a definitive resource in its day. Each play is accompanied by an introduction giving details of its original production and publication and the sources of its plot, critical commentary, and footnotes explaining terms and expressions. This volume contains The Tempest, King Lear, Coriolanus, Winter's Tale, Troilus and Cressida, Hamlet, Julius Caesar, Macbeth, Antony and Cleopatra, Titus Andronicus and Othello. The volume concludes with the Sonnets and Poems and a glossarial index.

The writings in this collection first appeared in Bentley's Miscellany, the well-known nineteenth-century journal whose first editor was Charles Dickens. Their author, William Maginn, was widely acknowledged as one of the most eccentric and brilliant periodical writers of his time. This volume, consisting of two parts, was put together by his friends and well-wishers after his death in 1842. The first part, The Shakespeare Papers, features eight essays that display Maginn's brilliantly tangential and often counter-intuitive approach to Shakespearean characters and includes his views on Falstaff, Jacques, Romeo, Bottom, Lady Macbeth, Timon of Athens, Polonius and Iago. The second part, Pictures Grave and Gay, consists of four short stories peopled with eccentric characters and brimming with Maginn's odd wit. The spectrum of writing contained in this volume gives the reader a rich harvest of literary nuggets that is both historical and timeless.

Helena Faucit Martin, one of the leading stage actresses of the early nineteenth century, played several Shakespearean roles. When she began expressing her opinions on her favourite women characters in letters to her friends, they urged her to publish them. The result is a series of fascinating, candid and informed sketches of seven of Shakespeare's well-known female characters, featuring Ophelia, Juliet, Portia, Imogen, Desdemona, Rosalind and Beatrice, which was published in 1885. Faucit's writings are distinctive, in that she approaches her subjects not as a critic of drama, but as someone who has 'thought their thoughts and spoken their words'. She treats Shakespeare's characters as beings with a life outside the stage, as figures for herself and other women to look up to as guides, friends and mirrors for their own lives. Among the letters in the volume are those written to Faucit's eminent friends, Robert Browning and John Ruskin.

Dowden's critical study of 1875 approaches Shakespeare from the human side, showing how Shakespeare the man is visible through his art. Moving from Shakespeare's early plays to his late period, and grouping the plays according to key stages in his career, the book traces the growth of Shakespeare's intellect and character from youth to full maturity. Dowden does not seek to align Shakespeare with any particular single character from his plays, but sees aspects of Shakespeare in many of his dramatic creations, demonstrating how Shakespeare represents many different sides of human life. The reader is provided with an insight into the questions at the forefront of Shakespeare's mind, his most intense moments of inspiration and his discoveries about human life. Outlining the differences between the youthful Shakespeare and Shakespeare as a mature and experienced man, the book enables us to better understand Shakespeare's character and genius.

The Cambridge Shakespeare was published in nine volumes between 1863 and 1866. Its careful editorial principles, attractive page design and elegant typography have withstood the test of time. This text was based on a thorough collation of the four Folios and of all the Quarto editions of the separate plays, the base text being the 1623 Folio. The critical apparatus appears at the foot of the page, but for passages where the Quarto differs significantly the entire Quarto text appears in small type after the received text. Notes at the end of each play explain variants, emendations, and passages of unusual difficulty or interest. Grammar and metre were generally left unchanged by the editors, but punctuation was normalised and nineteenth-century orthography was adopted instead of the variable Elizabethan spelling. In a bold move for a Victorian edition, the editors restored various 'profane' expressions where metre or sense demanded it.

Gerald Massey's work of 1888 presented a strong argument against the many theorists who viewed Shakespeare's Sonnets as autobiographical - 'a permanent reply to Shakespeare's misinterpreters'. Beginning by outlining the known background and context of the Sonnets, Massey proceeds to wage what he terms his 'battle against fictions, fallacies, forgeries, and groundless assumptions'. Who were the Sonnets addressed to, if anyone, and what is the significance of the inscription in the edition of 1609? What is the correct arrangement of the Sonnets, and why did Shakespeare himself give personal testimony to their 'purity'? Following detailed descriptions of the many different theories, Massey provides close readings and analysis of the Sonnets themselves to dispute the autobiographical claims, and to demonstrate that the Sonnets are 'partly personal and partly dramatic'.

Published in 1866, this is a meticulous, encyclopaedic listing of almost every word, place and character in Shakespeare's works. A must-have for every student of English literature, it is also an unparalleled guide for those left in the dark by Shakespearean English. James Orchard Halliwell-Phillipps (1820 1889), a renowned scholar, antiquarian, and collector of books on Shakespeare, provided entries for even the manners, customs and proverbs of the Bard's time. Despite the author's disclaimer about some of the 'hastily' prepared entries, the Index remains a monumental scholarly feat of the late nineteenth century. Halliwell not only cross-referenced every entry with the play it appeared in, but also included a list of actors who originally performed in the plays, together with locations and plot sources. With over 5000 annotated references, A Shakespeare Index is still one of the most practical and instructive guides to understanding Shakespearean English.

Mary Cowden Clarke (1809 98) was the daughter of the publisher Vincent Novello. She produced a complete concordance to Shakespeare's works in 1845, and her fascination with the plays led to her publishing in 1850 a series of imaginative accounts of the girlhood of some of his heroines. Her motive was 'to imagine the possible circumstances and influences of scene, event, and associate, surrounding the infant life of his heroines, which might have conduced to originate and foster those germs of character recognised in their maturity as by him developed; to conjecture what might have been the first imperfect dawnings of that which he has shown us in the meridian blaze of perfection'. These 'prequels' offer a back-story which is surprising in its subversive interpretation of the plays and especially of the role of the 'hero'. Volume 1 includes the stories of Portia and Lady Macbeth.

Mary Cowden Clarke (1809 98) was the daughter of the publisher Vincent Novello. She produced a complete concordance to Shakespeare's works in 1845, and her fascination with the plays led to her publishing in 1850 a series of imaginative accounts of the girlhood of some of his heroines. Her motive was 'to imagine the possible circumstances and influences of scene, event, and associate, surrounding the infant life of his heroines, which might have conduced to originate and foster those germs of character recognised in their maturity as by him developed; to conjecture what might have been the first imperfect dawnings of that which he has shown us in the meridian blaze of perfection'. These 'prequels' offer a back-story which is surprising in its subversive interpretation of the plays and especially of the role of the 'hero'. Volume 2 includes the stories of Ophelia and Juliet.