"Death and Life in Colonial Nahua Mexico" presents seven dramas from the first truly American theater. Composed in Nahuatl during the sixteenth and seventeenth centuries, most of these plays survive only in later copies. Five are morality plays. Presenting Christian views of moral reform, death, judgment, and punishment for sin, they reveal how these themes were adapted into Nahua culture. The other two plays dramatize biblical narratives: the stories of Abraham and Isaac and of the three wise men.

In this volume, Barry D. Sell and Louise M. Burkhart offer faithful transcriptions of the Nahuatl as well as new English translations of these remarkable dramas. Accompanying the plays are four interpretive essays and a foreword that broaden our understanding of these rare works.

"This volume is the first in a four-volume set entitled "Nahuatl Theater," edited by Barry D. Sell and Louise M. Burkhart"

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Up until the mid-1980s most pragmatic analysis had been done on spoken language use, considerably less on written use, and very little at all on literary activity. This has now radically changed. 'Pragmatics' could be informally defined as the study of relationships between language and its users. This volume, first published in 1991, seeks to reposition literary activity at the centre of that study. The internationally renowned contributors draw together two main streams. On the one hand, there are concerns which are close to the syntax and semantics of mainstream linguistics, and on the other, there are concerns ranging towards anthropological linguistics, socio- and psycholinguistics. Literary Pragmatics represents an antidote to the fragmenting specialization so characteristic of the humanities in the twentieth century. This book will be of lasting value to students of linguistics, literature and society. Roger D. Sell discusses the reissue of Literary Pragmatics here: http://www.routledge.com/articles/roger_d._sell_discusses_the_reissue_of_literary_pragmatics/

Twenty-two leading experts on early modern drama collaborate in this volume to explore three closely interconnected research questions. To what extent did playwrights represent dramatis personae in their entertainments as forming, or failing to form, communal groupings? How far were theatrical productions likely to weld, or separate, different communal groupings within their target audiences? And how might such bondings or oppositions among spectators have tallied with the community-making or -breaking on stage? Chapters in Part One respond to one or more of these questions by reassessing general period trends in censorship, theatre attendance, forms of patronage, playwrights' professional and linguistic networks, their use of music, and their handling of ethical controversies. In Part Two, responses arise from detailed re-examinations of particular plays by Shakespeare, Chapman, Jonson, Beaumont and Fletcher, Cary, Webster, Middleton, Massinger, Ford, and Shirley. Both Parts cover a full range of early-Stuart theatre settings, from the public and popular to the more private circumstances of hall playhouses, court masques, women's drama, country-house theatricals, and school plays. And one overall finding is that, although playwrights frequently staged or alluded to communal conflict, they seldom exacerbated such divisiveness within their audience. Rather, they tended toward more tactful modes of address (sometimes even acknowledging their own ideological uncertainties) so that, at least for the duration of a play, their audiences could be a community within which internal rifts were openly brought into dialogue.

Twenty-two leading experts on early modern drama collaborate in this volume to explore three closely interconnected research questions. To what extent did playwrights represent dramatis personae in their entertainments as forming, or failing to form, communal groupings? How far were theatrical productions likely to weld, or separate, different communal groupings within their target audiences? And how might such bondings or oppositions among spectators have tallied with the community-making or -breaking on stage? Chapters in Part One respond to one or more of these questions by reassessing general period trends in censorship, theatre attendance, forms of patronage, playwrights' professional and linguistic networks, their use of music, and their handling of ethical controversies. In Part Two, responses arise from detailed re-examinations of particular plays by Shakespeare, Chapman, Jonson, Beaumont and Fletcher, Cary, Webster, Middleton, Massinger, Ford, and Shirley. Both Parts cover a full range of early-Stuart theatre settings, from the public and popular to the more private circumstances of hall playhouses, court masques, women's drama, country-house theatricals, and school plays. And one overall finding is that, although playwrights frequently staged or alluded to communal conflict, they seldom exacerbated such divisiveness within their audience. Rather, they tended toward more tactful modes of address (sometimes even acknowledging their own ideological uncertainties) so that, at least for the duration of a play, their audiences could be a community within which internal rifts were openly brought into dialogue.

This publication summarizes the current status of our understanding of RNA, with particular emphasis on the chemistry of this key biological molecule. The various RNAs covered are messenger RNA, ribosomal RNA, transfer RNA and RNA enzymes (ribozymes). The different chapters detail biophysical and chemical methods to investigate RNA structure and function, the synthesis of native and modified RNAs and the latest advances in our understanding of the vast array of biological processes in which RNA is involved.

The fruit of intensive collaboration among leading international specialists on the literature, religion and culture of early modern England, this volume examines the relationship between writing and religion in England from 1558, the year of the Elizabethan Settlement, up until the Act of Toleration of 1689. Throughout these studies, religious writing is broadly taken as being 'communicational' in the etymological sense: that is, as a medium which played a significant role in the creation or consolidation of communities. Some texts shaped or reinforced one particular kind of religious identity, whereas others fostered communities which cut across the religious borderlines which prevailed in other areas of social interaction. For a number of the scholars writing here, such communal differences correlate with different ways of drawing on the resources of cultural memory. The denominational spectrum covered ranges from several varieties of Dissent, through via media Anglicanism, to Laudianism and Roman Catholicism, and there are also glances towards heresy and the mid-seventeenth century's new atheism. With respect to the range of different genres examined, the volume spans the gamut from poetry, fictional prose, drama, court masque, sermons, devotional works, theological treatises, confessions of faith, church constitutions, tracts, and letters, to history-writing and translation. Arranged in roughly chronological order, Writing and Religion in England, 1558-1689 presents chapters which explore religious writing within the wider contexts of culture, ideas, attitudes, and law, as well as studies which concentrate more on the texts and readerships of particular writers. Several contributors embrace an inter-arts orientation, relating writing to liturgical ceremony, painting, music and architecture, while others opt for a stronger sociological slant, explicitly emphasizing the role of women writers and of writers from different sub-cultural backgrounds.

Up until the mid-1980s most pragmatic analysis had been done on spoken language use, considerably less on written use, and very little at all on literary activity. This has now radically changed. 'Pragmatics' could be informally defined as the study of relationships between language and its users. This volume, first published in 1991, seeks to reposition literary activity at the centre of that study. The internationally renowned contributors draw together two main streams. On the one hand, there are concerns which are close to the syntax and semantics of mainstream linguistics, and on the other, there are concerns ranging towards anthropological linguistics, socio- and psycholinguistics. Literary Pragmatics represents an antidote to the fragmenting specialization so characteristic of the humanities in the twentieth century. This book will be of lasting value to students of linguistics, literature and society.

This flora, published in 1964, was the first comprehensive account of Cambridgeshire's plants since Babington's of 1860. Based on records to the end of 1962, it details 1509 species. These comprise 27 pteridophytes, 3 gymnosperms, 1223 angiosperms and 256 bryophytes. The following information is provided for each of the species: scientific name; well-known vernacular name, if any; first known record of the plant in the county; synonyms; habitat; notes on rare, difficult or interesting species; distribution by OS grid reference numbers. The introduction examines local topography, climate, the main geological areas and vegetation types, together with a history of botanical investigation in the county. Important localities are noted, highlighting key species that could then be found. Botanists, conservationists and naturalists will find this historic flora provides a valuable baseline for contemporary studies, including those focusing on biodiversity, extinction or the effects of climate change.

Death and Life in Colonial Nahua Mexico presents seven dramas from the first truly American theater. Composed in Nahuatl during the sixteenth and seventeenth centuries, most of these plays survive only in later copies. Five are morality plays. Presenting Christian views of moral reform, death, judgment, and punishment for sin, they reveal how these themes were adapted into Nahua culture. The other two plays dramatize biblical narratives: the stories of Abraham and Isaac and of the three wise men. In this volume, Barry D. Sell and Louise M. Burkhart offer faithful transcriptions of the Nahuatl as well as new English translations of these remarkable dramas. Accompanying the plays are four interpretive essays and a foreword that broaden our understanding of these rare works.

Don BartolomE de Alva was a mestizo who rose within New Spain's ecclesiastical hierarchy when people of indigenous heritage were routinely excluded from the priesthood. In 1640 and 1641 he translated several theatrical pieces from Spanish into Nahuatl, yet this prodigious accomplishment remained virtually unknown for centuries.Nahuatl Theater, Volume 3 presents for the first time in English the complete dramatic works of Alva, the only known plays from Spain's Golden Age adapted into the lively world of Nahuatl-language theater. Alva's translations-"The Great Theater of the World," "The Animal Prophet and the Fortunate Patricide," "The Mother of the Best," and a farcical intermezzo-represent ambitious attempts to add complex, Baroque dramatic pieces by such literary giants as Lope de Vega and Pedro CalderOn de la Barca to the repertory of Nahuatl theater, otherwise dominated by sober one-act religious plays grounded in medieval tradition. The Spanish sources and Alva's Nahuatl, set on facing pages with their English translations, show how Alva "Mexicanized" the plays by incorporating Nahuatl linguistic conventions and referencing local symbolism and social life. In their introductory essays, the editors offer contextual and interpretive information that provides an entrEe into this rich material. As the only known adaptations of these theatrical works into a Native American language, these plays stand as fine literature in their own right.

Nahuatl drama, one of the most surprising results of the Catholic presence in colonial Mexico, merges medieval European religious theater with the language and performance traditions of the Aztec (Nahua) people of central Mexico. Franciscan missionaries, seeking effective tools for evangelization, fostered this new form of theater after observing the Nahuas' enthusiasm for elaborate performances. The plays became a controversial component of native Christianity, allowing Nahua performers to present Christian discourse in ways that sometimes effected subtle changes in meaning. The Indians' enthusiastic embrace of alphabetic writing enabled the use of scripts, but the genre was so unorthodox that Spanish censors prevented the plays' publication. As a result, colonial Nahuatl drama survives only in scattered manuscripts, most of them anonymous, some of them passed down and recopied over generations.

"Aztecs on Stage" presents accessible English translations of six of these seventeenth- and eighteenth-century Nahuatl plays. All are based on European dramatic traditions, such as the morality and passion plays; indigenous actors played the roles of saints, angels, devils--and even the Virgin Mary and Jesus Christ. Louise M. Burkhart's engaging introduction places the plays in historical context, while stage directions and annotations in the works provide insight into the Nahuas' production practices, which often incorporated elaborate sets, props, and special effects including fireworks and music. The translations facilitate classroom readings and performances while retaining significant artistic features of the Nahuatl originals.