A Word Fitly Spoken explores significant poetic devices within the four alphabetic acrostic psalms found in Book I of the Psalter. The majority of scholarly opinion has been that these acrostics are poetically and artistically deficient due to the writers’ and editors’ preoccupation with the alphabetic pattern. In contrast to this view, A Word Fitly Spoken proposes that the acrostic pattern contributes to, rather than detracts from, the poetic artistry of these psalms. In an effort to promote a holistic, canonical reading of the four acrostic poems within Book I of the Psalter, this study also examines the linguistic and grammatical connections within the text. Such a close reading repeatedly demonstrates the emotive power and the imagination of this literature in contradiction to its supposedly stiff, wooden nature. A Word Fitly Spoken is attuned to the frequent plays on word and sound that occur throughout these four poems and as such would be useful in graduate courses on biblical interpretation, Hebrew poetry, or the Psalms.

Authoring a film adaptation of a literary source not only requires a media conversion but also a transformation as a result of the differing dramatic demands of cinema. The most critical central step in this transformation of a literary source to the screen is the writing of the screenplay. The screenplay usually serves to recruit producers, director, and actors; to attract capital investment; and to give focus to the conception and production of the film project. Often undergoing multiple revisions prior to production, the screenplay represents the crucial decisions of writer and director that will determine how and to what end the film will imitate or depart from its original source.

Authorship in Film Adaptation is an accessible, provocative text that opens up new areas of discussion on the central process of adaptation surrounding the screenplay and screenwriter-director collaboration. In contrast to narrow binary comparisons of literary source text and film, the twelve essays in this collection also give attention to the underappreciated role of the screenplay and film pre-production that can signal the primary intention for a film. Divided into four parts, this collection looks first at the role of Hollywood's activist producers and major auteurs such as Hitchcock and Kubrick as they worked with screenwriters to formulate their audio-visual goals. The second part offers case studies of Devil in a Blue Dress and The Sweet Hereafter, for which the directors wrote their own adapted screenplays. Considering the variety of writer-director working relationships that are possible, Part III focuses on adaptations that alter genre, time, and place, and Part IV investigatesadaptations that alter stories of romance, sexuality, and ethnicity.

In this collection, specialists examine, often through a comparative filter, themes related to migrant literatures, cultural diversity and aspects of Canadian state policy. The results of this examination offer an overview of Canadian society, which, as most contemporary societies, must address issues such as identity, human rights, Aboriginal peoples, international relations, multiculturalism, pollution, and language policies. At the same time, they present a view of the new trends, key interests and the cutting edge in Canadian Studies.

Au XIXe siecle, le discours amoureux est domine par un modele : le paradigme petrarquisant de l'amour angelique, ou de l'amour seraphique. Ce paradigme, qui renvoie a une tradition particulierement riche de la litterature europeenne, donne a l'amour humain un statut celeste et en fait la preface de l'amour divin. Le present ouvrage examine les sources platoniciennes de ces conceptions puis montre que de nombreux ecrivains de l'epoque romantique identifiaient le sentiment amoureux a une voix placee par Dieu dans la conscience humaine. Tous les ecrivains du XIXe siecle ne se sont cependant pas ranges sous la banniere de cet ideal platonisant. Celui-ci fut mis en question par Stendhal, Balzac, Nerval, Baudelaire et Flaubert, qui ont consacre leurs ecrits a indiquer combien ces modeles absolus, une fois appliques a la vie quotidienne, se revelaient pernicieux. Ainsi, a travers les debats qui se sont noues autour de la question de l'idealisme amoureux, c'est la nature conflictuelle du romantisme qui apparait, et au-dela, c'est la problematique meme de la modernite litteraire qui est posee : l'ambition de l'authenticite et la volonte de trouver une signification "laique" au monde d'en bas entrent au XIXe siecle en concurrence, chez les ecrivains, avec le desir de se hausser jusqu'a Dieu, ou de jouer un role d'intermediaire entre la terre et le ciel.

This volume gives pastors and worship leaders practical lessons in disciplined, interpretive speech that will enhance the living quality of Scripture for listeners today. Jacks discusses the practical techniques of effective oral interpretation --phrasing, emphasis, imagery, and vocal gesture --and covers important matters of voice and diction --pronunciation, articulation, and vocal control. Other communication tips include ways to restructure Scripture readings, a chart listing trouble areas in voice and diction, and much more.

The Historical Dictionary of Modern Coups D’état surveys the history of coups d’état in the post-World War II period. The term “modern� in the title therefore demarcates the period since January 1946. This book documents over 582 coup attempts that have occurred in 108 different countries worldwide over a period of 75 years. Historical Dictionary of Modern Coups D’état contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1,400 cross-referenced dictionary entries. This book is an excellent resource for students, and researchers.

A study at many levels of Scott’s long poem Coming to Jakarta, a book-length response to a midlife crisis triggered in part by the author’s initial inability to share his knowledge and horror about American involvement in the great Indonesian massacre of 1965. Interviews with Ng supply fuller information about the poem’s discussions of: a) how this psychological trauma led to an explorations of violence in American society and then, after a key recognition, in the poet himself; b) the poem's look at east-west relations through the lens of the yin-yang, spiritual-secular doubleness of the human condition; c) how the process of writing the poem led to the recovery of memories too threatening at first to be retained by his normal presentational self, and d) the mystery of right action, guided by the Bhagavad Gita and the maxim in the Gospel of Thomas that "If you bring forth what is within you, what you bring forth will save you.� Led by the interviews to greater self-awareness, Scott then analyses his poem as also an elegy, not just for the dead in Indonesia, but “for the passing of the Sixties era, when so many of us imagined that a Movement might achieve major changes for a better America.� Subsequent chapters develop how human doubleness can lead to an inner tension between the needs of politics and the needs of poetry, and how some poetry can serve as a non-violent higher politics, contributing to the evolution of human culture and thus our “second nature.� The book also reproduces a Scott prose essay, inspired by the poem, on the U.S. involvement in and support for the 1965 massacre. It then discusses how this essay was translated into Indonesian and officially banned by the Indonesian dictatorship, and how ultimately it and the poem helped inspire the ground-breaking films of Josh Oppenheimer that have led to the first official discussions in Indonesia of what happened in 1965.

Offers an intimate and engrossing look at the latest generation of Pentecostal believers who “take up� venomous snakes as a test of their religious faith. Focusing on several preachers and their families in six Appalachian states, journalist Julia C. Duin explores the impact that such twenty-first-century phenomena as social media and “reality television� have had on rituals long practiced in obscurity. As Duin reveals, the mortal snakebite suffered by pastor Mack Wofford in 2012 marked the passing of the torch to younger preachers Jamie Coots and Andrew Hamblin, who were featured in the 2013 series Snake Salvation on the National Geographic Channel. Seeing their participation in the show as a way of publicizing their faith and thus winning converts, Coots and Hamblin attempted to reinvent the snake-handling tradition for a modern audience. The use of the internet, particularly Facebook, became another key part of their strategy to spread their particular brand of Christianity. However, Coots’s own death in 2014 was widely reported after the TV series was canceled, while Hamblin, who emerges as the central figure in the book, was arrested and tried after a shooting incident involving his estranged wife. His hopes of becoming a serpent-handling superstar seemingly dashed, Hamblin spent several months in prison, emerging more determined than ever to keep to the faith. By the end of the narrative, he has begun a new church where he can pass on the tradition to yet another generation. Duin’s thorough, sympathetic reporting and lively style bring the ecstatic church services she witnessed vividly to life, and through interviews and quotations from the principals’ Facebook postings, she has allowed them to express their beliefs and reveal their everyday lives in their own words. She also gives the reader an up-close view of how a reporter pursues a story and the various difficulties encountered along the way. These engrossing elements add up to a unique story of the ways in which the practitioners of a century-old custom—one that strikes most outsiders as bizarre—are adjusting to the challenges of the new millennium.

'The Lifestyle Writer' is a book that explores every aspect of writing for the home and family market. From writing parenting and childcare articles to writing for the travel and technology markets, it is packed full of tips and advice for the budding writer.

Eine umfassende, theologisch, kultur- und literaturgeschichtlich kontextualisierte Geschichte des Lachens im Frankreich des 17. Jahrhunderts. Ausgehend von den knappen Harangues (1651), den burlesken Totenreden eines Autors, der sich hinter dem programmatischen Pseudonym Raisonnable verbirgt, erschließt die Arbeit anhand der Schlüsselelemente Tod und Lachen das geistige und kulturelle Zentrum des grand siècle. Es ist dies die konfliktreiche Opposition zwischen der theologisch-religiösen Kultur, die ihre traditionelle Vorrangstellung erhalten will, und der literarisch-profanen Kultur der Moderne, die sich um einen eigenen Autonomiestatus bemüht. Der kulturwissenschaftliche Ansatz der Arbeit eröffnet einen neuen Blick auf die Traktatliteratur, die Predigt und insbesondere das Theater des 17. Jahrhunderts.

'You have to realise your decisions have consequences not only for you but for all of us – most of all your father!’ It’s late. Richard and Joyce have just returned home from the House of Lords – another boozy, gruelling but important social event that further cements Richard’s chance of being promoted to Commissioner of the Metropolitan Police. To their astonishment, and relief, they find their estranged son, Luke, fast asleep on the sofa. After a year’s absence – and with only one email letting them know he was safe – where has he been? More importantly, why has he come back? And will Luke’s demons play hell with Richard’s promotion? Atiha Sen Gupta’s fiery family drama challenges the ‘family always comes first’ ethos and boldly confronts the fissures in our modern multicultural society that infiltrate through to the highest ranks.

It takes the reader through a concise introduction to vocal mechanics, vocal color, expression, and personal presence, combined with the mental, physical, and imagination skills required for achieving dynamic performance. Through simple exercises, drawings, and clear explanations, the text takes a balanced, accessible pedagogical approach that emphasizes the infinite potential of the human voice.