Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

Women and Comedy: History, Theory, Practice presents the most current international scholarship on the complexity and subversive potential of women's comedic speech, literature, and performance. Earlier comedy theorists such as Freud and Bergson did not envision women as either the agents or audiences of comedy, only as its targets. Only more recently have scholarly studies of comedy begun to recognize and historicize women's contributions to-and political uses of-comedy. The essays collected here demonstrate the breadth of current scholarship on gender and comedy, spanning centuries of literature and a diversity of methodologies. Through a reconsideration of literary, theatrical, and mass media texts from the Classical period to the present, Women and Comedy: History, Theory, Practice responds to the historical marginalization and/or trivialization of both women and comedy. The essays collected in this volume assert the importance of recognizing the role of women and comedy in order to understand these texts, their historical contexts, and their possibilities and limits as models for social engagement. In the spirit of comedy itself, these analyses allow for opportunities to challenge and reevaluate the theoretical approaches themselves.

Ireland Is Changing Mother is Rita Ann Higgins at her edgy best: provocative and heart-warming poems of high jinks, jittery grief and telling social comment by a gutsy, anarchic chronicler of the lives of the Irish dispossessed, before as well as since the demise of the Celtic tiger. This was her first new collection after her retrospective, Throw in the Vowels, and was followed by Tongulish.

Created in London c. 1340, the Auchinleck manuscript (Edinburgh, National Library of Scotland Advocates MS 19.2.1) is of crucial importance as the first book designed to convey in the English language an ambitious range ofsecular romance and chronicle. Evidently made in London by professional scribes for a secular patron, this tantalizing volume embodies a massive amount of material evidence as to London commercial book production and the demand for vernacular texts in the early fourteenth century. But its origins are mysterious: who were its makers? its users? how was it made? what end did it serve? The essays in this collection define the parameters of present-day Auchinleck studies. They scrutinize the manuscript's rich and varied contents; reopen theories and controversies regarding the book's making; trace the operations and interworkings of the scribes, compiler, and illuminators; teaseout matters of patron and audience; interpret the contested signs of linguistic and national identity; and assess Auchinleck's implied literary values beside those of Chaucer. Geography, politics, international relations and multilingualism become pressing subjects, too, alongside critical analyses of literary substance. SUSANNA FEIN is Professor of English at Kent State University and editor of The Chaucer Review. Contributors: Venetia Bridges, Patrick Butler, Siobhain Bly Calkin, A. S. G. Edwards, Ralph Hanna, Ann Higgins, Cathy Hume, Marisa Libbon, Derek Pearsall, Helen Phillips, Emily Runde, Timothy A. Shonk, Miceal F. Vaughan.

Tongulish is the language of sweet talk and honeyed words, babble and blather, quibble and quizzical. And tongulish is spoken throughout Rita Ann Higgins's lively new collection. These are provocative and heart-warming poems of high jinx and telling social comment by a gutsy, anarchic chronicler of Irish lives and foibles, mischievous and playful in their portrayal of feckless folk and outcasts, flirts and weasels, gasbags and scallywags.

Fresh examinations of the manuscript which is one of the chief compendiums of literature in the Middle English period. Created in London c. 1340, the Auchinleck manuscript (Edinburgh, National Library of Scotland Advocates MS 19.2.1) is of crucial importance as the first book designed to convey in the English language an ambitious range ofsecular romance and chronicle. Evidently made in London by professional scribes for a secular patron, this tantalizing volume embodies a massive amount of material evidence as to London commercial book production and the demand for vernacular texts in the early fourteenth century. But its origins are mysterious: who were its makers? its users? how was it made? what end did it serve? The essays in this collection define the parameters of present-day Auchinleck studies. They scrutinize the manuscript's rich and varied contents; reopen theories and controversies regarding the book's making; trace the operations and interworkings of the scribes, compiler, and illuminators; teaseout matters of patron and audience; interpret the contested signs of linguistic and national identity; and assess Auchinleck's implied literary values beside those of Chaucer. Geography, politics, international relations and multilingualism become pressing subjects, too, alongside critical analyses of literary substance. Susanna Fein is Professor of English at Kent State University and editor of The Chaucer Review. Contributors: Venetia Bridges, Patrick Butler, Siobhain Bly Calkin, A. S. G. Edwards, Ralph Hanna, Ann Higgins, Cathy Hume, Marisa Libbon, Derek Pearsall, Helen Phillips, Emily Runde, Timothy A. Shonk, Miceal F. Vaughan.

God, fairies, jiving factory girls, a crocodile-wielding father, long-lost lives, and equally long-lost multinationals all form part of the brilliant world of Rita Ann Higgins's collection of essays and poems. For over two decades Rita Ann Higgins has provided a voice for the voiceless. In these essays, which form a poetic memoir, she shows yet again that she is one of the best contemporary Irish writers.

Throw in the Vowels is a new retrospective from Rita Ann Higgins: provocative and heart-warming poems of high jinks, jittery grief and telling social comment by a gutsy, anarchic chronicler of the Irish dispossessed. The 2010 reissue of this title includes a free audio CD of poems read by the author. She has since published two later collections, Ireland Is Changing Mother (2011) and Tongulish (2016).

This work was originally issued as a two-volume set, published in 1987 and 1988. It constitutes the definitive presentation of the system of classifying moral judgment built up by Lawrence Kohlberg and his associates over a period of twenty years. Researchers in human development and education around the world, many of whom have worked with interim versions of the system - indeed, all those seriously interested in understanding the development of moral judgment - will find it a useful and accessible resource. Volume 1 reviews Kohlberg's stage theory, and the large body of research on the significance and utility of his moral stages. Issues of reliability and validity are addressed. The volume ends with detailed instructions for using the reference sections, which are presented in volume 2.

A suspense novel surrounding a parole officer who is drawn into a case involving a serial killer. This serial killer wants to be remembered forever. He sends the police directions to where his victims are, as well as videotapes of them alive. He simply signs them, "Guess who?"

Scattered showers are always welcome from too clear a sky. The poems here offer the continuing relief of the bit of fanciful yet renewing reality poetry can bring - and does, with wonderful regularity in this book. Higgins gives us "Nature's palpable design" in a kaleidoscope of images: a dozen or so poems of birds writing their own ineffable designs on the world; the glories of a "Junk Drawer"; the closely observed material word of locks and their openings. Images everywhere that bring us home - "Women with feet like cudgels"; the way "the sun crept up and turned its key in my face" and, always the affirming grace: "After all, I turn to grinning."
Beautifully realized images, tightly captured senses that gravitate toward the "molten core," our own clipped wings seeking anyway the sky, this is a book worth revisiting again and again. Let us have more of these scatterings.
Martin Galvin, Ph.D., teacher, author of Wild Card, winner of the Columbia Prize for poetry in 1989
This collection is rich with image and emotion. Moving back and forth between the natural world and the sphere of human endeavors, the poet finds the connections between them, whether ironic or tender. No easy answers, but a voice to accompany us all as we travel our own paths.
Deborah Humphreys, poet and author of Conventional Wisdom
"The woman welcomed the wet of it to her house" Anne Higgins writes in a poem about the inundation of rain. Reading this volume, I see how that line characterizes the voice of Higgins' work, that of a poet finding her place in the world, assessing and accepting it with wonder and a kind of Buddhist patience. The themes and topics include nature, youth and aging, language, art, death, and weather, all largely couched in the familiar world of goodwill coats, houses, schoolgirls, junk-drawer junk, tools, maps and animals. Among it all, what strikes me most in these poems is the poet's sympathy with both the living and the inanimate, and an unshaken sense of humanity.
Sarah Sloat, poet
Anne Higgins' poetry is wonderfully genuine. With attention to detail, and a simple honesty of emotion, she invites the reader into her work to become part of the creative process, to make it their own. It is impossible to read Anne's work without feeling that connection to it and wanting more.
Lisa Prince, poet and moderator of Inside the Writers Studio

She definitely was born to Dance. The call on her life was like that of the prophet Jeremiah.Before I formed thee in the belly I knew thee; and before thou camest forth out of the womb I sanctified thee, and I ordained thee a prophet unto the nations.(Jeremiah 1;5) Ann spent her entire life dancing and bringing joy to thousands of people from all walks of life. dance is shut up in her bones waiting to explode with every expression of movement.

The purpose of the dance is to glorify God. His desire is for us to use our gifts and talents to draw people to Christ and also so that they will recognize His sovereignty. Dancers are mandated to use the gift of dance to show forth God's ability to heal, deliver and set people free from the hand of the enemy.

The practical workbook provides information on many aspects of the dance and tests your knowledge with "fill-in-the-blanks" and "True and false" Questions. It covers topics such as: The Prophet Dance The Royal Garments Commandments Concerning the Hands The Dancers Feet How to Become and Effective Dance Minister; and much more.

"Lawrence Kohlberg's Approach to Moral Education" presents what the late Lawrence Kohlberg regarded as the definitive statement of his educational theory. Addressing the sociology and social psychology of schooling, the authors propose that school culture become the center of moral education and research. They discuss how schools can develop as just and cohesive communities by involving students in democracy, and they focus on the moral decisions teachers and students face as they democratically resolve problems. As the authors put it: .,."we propose an educational renewal of our democratic society.... We have attempted to establish schools that do more than just teach about democratic citizenship, that are themselves democratic societies."