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While Guinness is a global product, it still contains references to
Ireland and it occupies a particular place in imaginings of
Irishness. Brewing Identities is unique in that, while it focuses
on the (re)production of a specific kind of ethno-national
identity- Irishness - it is simultaneously transnational in scope,
as the author maps the trails of products, people and symbolic
constructs through a globalised world. In pubs from Dublin to
London to New York, the reader is taken on a multi-sited
ethnography, where stories unfold through observation, interview,
and conversation with fellow patrons and pub personnel, while
drawing from an ample sampling of discursive and interactional
sources from which the author derives her own interpretations and
conclusions. Additionally, the book follows the trail of the
political economy of Guinness. Brewing Identities produces an
engaging and well-grounded mode of inquiry informed not only by
multiple sources but by the interdisciplinary field of cultural
studies, one that is particularly sensitive and responsive to both
the convergences and discontinuities of diverse conditioning
factors at work in the generally nebulous and complex sphere of
identity production.
While Guinness is a global product, it still contains references to
Ireland and it occupies a particular place in imaginings of
Irishness. Brewing Identities is unique in that, while it focuses
on the (re)production of a specific kind of ethno-national
identity- Irishness - it is simultaneously transnational in scope,
as the author maps the trails of products, people and symbolic
constructs through a globalised world. In pubs from Dublin to
London to New York, the reader is taken on a multi-sited
ethnography, where stories unfold through observation, interview,
and conversation with fellow patrons and pub personnel, while
drawing from an ample sampling of discursive and interactional
sources from which the author derives her own interpretations and
conclusions. Additionally, the book follows the trail of the
political economy of Guinness. Brewing Identities produces an
engaging and well-grounded mode of inquiry informed not only by
multiple sources but by the interdisciplinary field of cultural
studies, one that is particularly sensitive and responsive to both
the convergences and discontinuities of diverse conditioning
factors at work in the generally nebulous and complex sphere of
identity production.
The essays in this collection fill an important conceptual gap in
present-day criticism. New essays are presented on such diverse
writers as Eugene O'Neill, Susan Glaspell, Thornton Wilder, Arthur
Miller, Maurine Dallas Watkins, Sophie Treadwell, and Washington
Irving. The essayists offer equally diverse approaches to
intertextuality, such as the influence of the poetry of romanticism
and Shakespeare, histories and novels, ideological and political
discourses on American playwrights, unlikely connections between
such persons as Miller and Wilder, the problems of intertexts in
translation, the evolution in different historical contexts of the
same tale, and the relationships among feminism, the drama of the
courtroom, and the drama of the stage. Intertextuality has been an
under explored area in studies of dramatic and performance texts.
The innovative findings of these scholars testifies to the vitality
of research in American drama and performance.
Fifty years after the original production of Death of a Salesman,
Arthur Miller's play has as much emotional impact upon and
relevance to the audience of twenty-first century America as it did
when it was first performed. In this collection of papers, taken
from the Fifth International Arthur Miller Conference in Brooklyn
Heights, New York, authors focus on the play's position in
America's dramatic literary canon. The subjects of the essays range
from evaluation of the play in economic terms to critical analysis
of specific productions, to a look at the body of Miller's works.
The most destructive storm of the 2012 Atlantic hurricane season,
Superstorm Sandy smashed ashore on the U.S. East Coast in October
2012 after cutting a path of destruction north from the Caribbean.
Altogether, it has been estimated to have caused more than $68
billion in damage, and killed over 200 people in several countries.
The second-costliest such storm in U.S. history behind only
Hurricane Katrina in 2005 Sandy is reported to have killed at least
117 people in the United States alone, and it caused tremendous
damage along the most populated coastline in the country. As a
result, Sandy generated 144,484 claims under federal flood
insurance coverage under the National Flood Insurance Program
(NFIP). This book begins by laying out how the NFIP claims
management process works, how its various pieces interact, and how
the Federal Emergency Management Agency (FEMA) attempts to ensure
quality control. It then explores the incentive structures that
face insurance companies, claims processing vendors, adjusters, and
engineers, and the management challenges that confront the NFIP as
it attempts to handle catastrophic flood events.
The Decades of Modern American Playwriting series provides a
comprehensive survey and study of the theatre produced in each
decade from the 1930s to 2009 in eight volumes. Each volume equips
readers with a detailed understanding of the context from which
work emerged: an introduction considers life in the decade with a
focus on domestic life and conditions, social changes, culture,
media, technology, industry and political events; while a chapter
on the theatre of the decade offers a wide-ranging and thorough
survey of theatres, companies, dramatists, new movements and
developments in response to the economic and political conditions
of the day. The work of the four most prominent playwrights from
the decade receives in-depth analysis and re-evaluation by a team
of experts, together with commentary on their subsequent work and
legacy. A final section brings together original documents such as
interviews with the playwrights and with directors, drafts of play
scenes, and other previously unpublished material. The major
playwrights and their plays to receive in-depth coverage in this
volume include: * Tony Kushner: Angels in America: A Gay Fantasia
on National Themes, Part One and Part Two (1991), Slavs! Thinking
About the Longstanding Problems of Virtue and Happiness (1995) and
A Dybbuk, or Between Two Worlds (1997); * Paula Vogel: Baltimore
Waltz (1992), The Mineola Twins (1996) and How I Learned to Drive
(1997); * Suzan-Lori Parks: The Death of the Last Black Man in the
Whole Entire World (1990), The America Play (1994) and Venus
(1996); * Terrence McNally: Lips Together, Teeth Apart (1991),
Love! Valour! Compassion! (1997) and Corpus Christi (1998).
The Decades of Modern American Playwriting series provides a
comprehensive survey and study of the theatre produced in each
decade from the 1930s to 2009 in eight volumes. Each volume equips
readers with a detailed understanding of the context from which
work emerged: an introduction considers life in the decade with a
focus on domestic life and conditions, social changes, culture,
media, technology, industry and political events; while a chapter
on the theatre of the decade offers a wide-ranging and thorough
survey of theatres, companies, dramatists, new movements and
developments in response to the economic and political conditions
of the day. The work of the four most prominent playwrights from
the decade receives in-depth analysis and re-evaluation by a team
of experts, together with commentary on their subsequent work and
legacy. A final section brings together original documents such as
interviews with the playwrights and with directors, drafts of play
scenes, and other previously unpublished material. The major
playwrights and their plays to receive in-depth coverage in this
volume include: David Mamet: Edmond (1982), Glengarry Glen Ross
(1984), Speed-the-Plow (1988) and Oleanna (1992); David Henry
Hwang: Family Devotions (1981), The Sound of a Voice (1983) and M.
Butterfly (1988); Maria Irene Fornes: The Danube (1982), Mud (1983)
and The Conduct of Life (1985); August Wilson: Ma Rainey's Black
Bottom (1984), Joe Turner's Come and Gone (1984) and Fences (1987).
The Decades of Modern American Drama series provides a
comprehensive survey and study of the theatre produced in each
decade from the 1930s to 2009 in eight volumes. Each volume equips
readers with a detailed understanding of the context from which
work emerged: an introduction considers life in the decade with a
focus on domestic life and conditions, social changes, culture,
media, technology, industry and political events; while a chapter
on the theatre of the decade offers a wide-ranging and thorough
survey of theatres, companies, dramatists, new movements and
developments in response to the economic and political conditions
of the day. The work of the four most prominent playwrights from
the decade receives in-depth analysis and re-evaluation by a team
of experts, together with commentary on their subsequent work and
legacy. A final section brings together original documents such as
interviews with the playwrights and with directors, drafts of play
scenes, and other previously unpublished material. The major
writers and their works to receive in-depth coverage in this volume
include: * William Inge: Picnic (1953), Bus Stop (1955) and The
Dark at the Top of the Stairs (1957); * Stephen Sondheim, Arthur
Laurents and Jerome Robbins: West Side Story (1957) and Gypsy
(1959); * Alice Childress: Just a Little Simple (1950), Gold
Through the Trees (1952) and Trouble in Mind (1955); * Jerome
Lawrence and Robert Lee: Inherit the Wind (1955), Auntie Mame
(1956) and The Gang's All Here (1959).
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Lockset (Paperback)
Brenda Murphy
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R354
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Double Six (Paperback)
Brenda Murphy
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R437
R369
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Soul Burn (Paperback)
Brenda Murphy, Megan Hart
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R438
R371
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