It's not what you think. You may have heard Casanova's legend, but have you heard his heart? Could you read between the lines of the playwright who wrote the play Casanova and why he assumes that role of his character given the power of Cupid's bow and arrow? But he is just like you and I. After all, we all use the power of the bow and arrow in some form, whether through beauty, power, or wit. And we use that power to some extent to shapes love's stage. Admittedly, some are better than others. And of course, our intentions are good. Well, at least we try most of the time. But unfortunately there are desires and motivations which we know not of, and nor do we know where they are from. In fact, we just don't know ourselves. If you were given all the power of the bow and arrow, how would you act? Is there any guarantee that your aim would be any better than the blind whims of Cupid? Especially in a world where love loves to hide, mask itself in indifference and most of all, act. We will quickly learn that the real story is what is happening behind the stage, under the stage, in the earth deep below the stage, over the stage, behind the pen, inside the heart, in the heavens, and in that place so distant and so far back-a place called home. This is a story dictated by characters with no roles, stars with no spoken parts, no cameos, and no love shared at all. Something happened that moved Casanova's heart. It moved the characters on the stage, and it is about to move the heavens. It seems today that the earth is shaking and the ground is moving, and it is getting more frequent. You had better check your foundations like Casanova did. If our house is unsteady, perhaps we might want to checkhere, and it might just heal the world.

Drawing on the historicizing turn in Latin literary scholarship, Roman Literary Cultures combines new critical methods with traditional analysis across four hundred years of Latin literature, from mid-republican Rome in the second century BC to the Second Sophistic in the second century AD. The contributors explore Latin texts both famous and obscure, from Roman drama and Menippean satire through Latin elegies, epics, and novels to letters issued by Roman emperors and compilations of laws. Each of the essays in this volume combines close reading of Latin literary texts with historical and cultural contextualization, making the collection an accessible and engaging combination of formalist criticism and historicist exegesis that attends to the many ways in which classical Latin literature participated in ancient Roman civic debates.

Entrepreneurs--and entrepreneurial companies--live or die by the quality of their plans and proposals. Whether it's to get funding for a new product line or business from a client, writing hard-hitting prose that answers essential questions and makes specific requests is an indispensable skill. Entrepreneur, ad man, and writing teacher Dennis Chambers shows how entrepreneurs can persuade people, through skillful writing, to pony up capital or contracts. This ability--which can be learned--is rare in today's media-saturated world. But it counts more than ever if an entrepreneur wants to make it over the magical "five-year" hump and on into lasting business success. Numerous examples and exercises ensure that entrepreneurs understand how the writing game is played--and that they play it well. Unfortunately, most don't play this game well. Most business writers mistakenly believe their task is to inform. They write to fill an information gap or to update the reader on a particular project. Or they write about what's important to them. What these writers do not take into account is that the speed of today's work world has reached overdrive. The typical reader simply doesn't have time to ponder dense, poorly organized information and intuit the appropriate action. And readers don't give a hoot about what's important to the writer--they want to know what's in it for themselves. Business writers need to use all the tools at their command to persuade, inspire action, and in general move a project forward. This book is about how to be persuasive in two key skills in business: writing proposals and writing business plans. Step by step, Dennis Chambers illustrates the techniques of effectivebusiness writing, with numerous examples throughout. Whether the objective is to secure financing from an investor, lay out a marketing strategy, or secure a large contract, getting results requires crafting an effective structure for the proposal, and using words that sell. Chambers is an able guide in saving entrepreneurs time and undue effort while reaching the goal of long-term business success. Besides expert advice and insights, the book includes: *Examples and practical guidance, all geared toward the entrepreneur/small business owner. *Exercises, templates, cases, glossary, and model letters and plans.

"Cajuns and Their Acadian Ancestors: A Young Reader's History" traces the four-hundred-year history of this distinct American ethnic group. In its original English, the book proved a perfect package, comprehensible to junior-high and high-school students, while appealing to and informing adult readers seeking a one-volume exploration of these remarkable people and their predecessors. It is now available for the first time translated into French. The narrative follows the Cajuns' early ancestors, the Acadians, from seventeenth-century France to Nova Scotia, where they flourished until British soldiers expelled them in a tragic event called "Le Grand Derangement" (The Great Upheaval)--an episode regarded by many historians as an instance of ethnic cleansing or genocide. Up to one-half of the Acadian population died from disease, starvation, exposure, or outright violence in the expulsion. Nearly three thousand survivors journeyed through the thirteen American colonies to Spanish-controlled Louisiana. There they resettled, intermarried with members of the local population, and evolved into the Cajun people, who today number over a half-million. Since their arrival in Louisiana, the Cajuns have developed an unmistakable identity and a strong sense of ethnic pride.In recent decades they have contributed their lively cuisine and accordion-and-fiddle dance music to American popular culture. "Les Cadiens et leurs ancetres acadiens: l'histoire racontee aux jeunes" includes numerous images and over a dozen sidebars on topics ranging from Cajun music and horse racing heroes to Mardi Gras. Shane K. Bernard's welcomed and cherished history of the Cajun people is translated into French by Faustine Hillard. The book offers a long-sought immersion text, ideal for the young learner and adult alike.

Intended to appeal to both native French-speakers as well as to English-speaking students who are learning French, this French translation of Shane K. Bernard's "Cajuns and Their Acadian Ancestors: A Young Reader's History" is perfect for middle-school and high-school readers enrolled in conversational and French Immersion classes. Adult readers of French will also find it a useful primer of Acadian and Cajun history."Les Cadiens et leurs ancetres acadiens: l'histoire racontee aux jeunes" retrace le periple de quatre siecles de ce groupe ethnique nord-americain distinct des autres. Accessible aux adolescents, ce volume s'averera egalement utile et pratique pour le lecteur adulte qui cherche a connaitre a la fois ce peuple remarquable et ses ancetres.

Le recit suit la trace des Acadiens, les premiers ancetres des Cadiens, de la France du dix-septieme siecle a la Nouvelle-Ecosse, la ou ils se sont epanouis jusqu'a ce que des soldats britanniques les expulsent lors de cet evenement tragique que fut Le grand derangement -- un triste episode qui a debute en 1755 et que nombre d'historiens modernes considerent comme un parfait exemple de nettoyage ethnique, voire de genocide. Pres de trois mille survivants ont (peniblement) traverse les treize colonies americaines pour se rendre jusqu'en Louisiane, alors sous le regime espagnol. La, ils s'installent a nouveau, s'integrent a la population locale par le biais du mariage et forment peu a peu ce qu'il est aujourd'hui convenu d'appeler le peuple cadien. Aujourd'hui, on compte plus d'un demi-million d'habitants d'origine cadienne en Louisiane."

Simultaneously a handbook and a critique of one, Beyond Craft combines an orientation to the field of creative writing with an insight into current scholarship surrounding creative writing pedagogy. A much-needed alternative to the traditional craft guide, this text pairs advice and exercises on composition with an illuminating commentary on the issues surrounding these very techniques. Teaching the craft whilst apprising students of the issues of craft pedagogy, this book allows them to gain an awareness of how current pedagogy comes at the expense of larger and increasingly relevant cultural concerns. Westbrook and Ryan bring emerging writers into the larger conversations that define the field, inviting them to: - Contextualize their own writing practices and educational experiences in relation to the history of creative writing as an academic discipline. - Determine how New Critical lore and Romantic mythology may affect-even distort-their understanding of literary production. - Critically examine their notions of authorship, collaboration, and invention in relation to contemporary literary and rhetorical theory. - Understand and evaluate the economic, social, political, and professional challenges facing creative writers today. - Analyze the contemporary literary marketplace not only to identify potential publication contexts but also to understand how issues of diversity and bias affect writing communities. - Reflect on how increasingly rapid technological developments may affect their own writing and the future of literature. Earnestly self-aware throughout, Beyond Craft both inducts new writers into the field of creative writing and infuses them with an understanding of the wider dialogue surrounding their craft.

Contemporary theatre is going through a period of unparalleled excitement and challenge. Terms like 'postmodern' and 'postdramatic' have their own contested and defended histories, while notions of truth in verbatim theatre are open to serious critical challenge. Theatre writing can result in no words being spoken and nothing appearing on the page, and productions are stretching the boundaries of space, place and context like never before. This revised and significantly expanded edition of New Performance/New Writing explores immersive and solo theatre, autoethnography, applied drama, performance writing, plot, story, narrative and devising. It presents an invaluable response to questions that arise from new theatre, prompting active reading that enhances classroom and workshop learning, and improves productivity in rehearsal. Each chapter explores a key aspect of theatre study, while an extensive timeline of theatre events gives a broad overview of its evolution. Case studies on practitioners as diverse as Kneehigh, Punchdrunk, Mark Ravenhill and Forced Entertainment are scattered throughout the book, along with detailed suggestions for workshops, which encourage readers to test some of the book's ideas in practice.

Gathered together in this volume are over two hundred and fifty poems from Anthony Castro. Included are his first published poems from Manhattan Quarterly when he was an emerging poet, to his most recent songs. Throughout his eminent career, Castro has experimented with different forms and styles, even creating an innovative form in 89 blinks that recognizes the inherent duality of all things while drawing the reader into an intimacy with the poem's experience. Anthony Castro seeks to see reality and show the world as it is. "He celebrates the uniqueness of people and allows into his songs the sublime, the sad and the proximity of death-in life, along with a joy of language, a delight in humor and recognition of the holiness of love."

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In 1939, Aleksandr Volkov (1891-1977) published Wizard of the Emerald City, a revised version of L. Frank Baum's The Wonderful Wizard of Oz. Only a line on the copyright page explained the book as a "reworking" of the American story. Readers credited Volkov as author rather than translator. Volkov, an unknown and inexperienced author before World War II, tried to break into the politically charged field of Soviet children's literature with an American fairy tale. During the height of Stalin's purges, Volkov adapted and published this fairy tale in the Soviet Union despite enormous, sometimes deadly, obstacles. Marketed as Volkov's original work, Wizard of the Emerald City spawned a series that was translated into more than a dozen languages and became a staple of Soviet popular culture, not unlike Baum's fourteen-volume Oz series in the United States. Volkov's books inspired a television series, plays, films, musicals, animated cartoons, and a museum. Today, children's authors and fans continue to add volumes to the Magic Land series. Several generations of Soviet Russian and Eastern European children grew up with Volkov's writings, yet know little about the author and even less about his American source, L. Frank Baum. Most Americans have never heard of Volkov and know nothing of his impact in the Soviet Union, and those who do know of him regard his efforts as plagiarism. Erika Haber demonstrates how the works of both Baum and Volkov evolved from being popular children's literature and became compelling and enduring cultural icons in both the US and USSR/Russia, despite being dismissed and ignored by critics, scholars, and librarians for many years.

This collection explores the heterogeneous places we have traditionally been taught to term 'islands.' It stages a conversation on the very idea of 'island-ness', thus contributing to a new field of research at the crossroads of law, geography, literature, urban planning, politics, arts, and cultural studies. The contributions to this volume discuss the notion of island-ness as a device triggering the imagination, triggering narratives and representations in different creative fields; they explore the interactions between legal, socio-political, and fictional approaches to remoteness and the 'state of insularity,' policy responses to both remoteness and boundaries on different scales, and the insular legal framing of geographical remoteness. The product of a cross-disciplinary exchange on islands, this edited volume will be of great interest to those working in the fields of Island Studies, as well as literary studies scholars, geographers, and legal scholars.