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Company Accounting, 10th edition has been thoroughly updated to
reflect the various and ongoing reforms as a result of Australia's
adoption of international financial reporting standards. Containing
several all-new chapters, this edition provides an authoritative
and reliable overview of the various changes required within the
Framework and a selection of key accounting standards governing
corporate entities. The text provides students with a comprehensive
overview of the practice and principles of company accounting, and
helps them develop the practical grounding to reinforce their
understanding. The 10th edition presents essential 'must know'
information on accounting for a corporate entity and the
requirements for externally disclosing the financial position of
the entity. Company Accounting, 10th Edition retains the hallmark
features seen in previous editions of the title, including a high
attention to detail, practical application of accounting standards,
provision of a conceptual basis, and depth of analysis.
Three decades of controversy in Shakespeare studies can be
summed up in a single question: Was Shakespeare one of a kind? On
one side of the debate are the Shakespeare lovers, the
bardolatrists, who insist on Shakespeare's timeless preeminence as
an author. On the other side are the theater historians who view
modern claims of Shakespeare's uniqueness as a distortion of his
real professional life. In "Shakespeare Only," Knapp draws on an
extraordinary array of historical evidence to reconstruct
Shakespeare's authorial identity as Shakespeare and his
contemporaries actually understood it. He argues that Shakespeare
tried to adapt his own singular talent and ambition to the
collaborative enterprise of drama by imagining himself as uniquely
embodying the diverse, fractious energies of the popular theater.
Rewriting our current histories of authorship as well as
Renaissance drama, "Shakespeare Only" recaptures a sense of the
creative force that mass entertainment exerted on Shakespeare and
that Shakespeare exerted on mass entertainment.
If a central question in literary biography is how to separate the
poetry from the life of the poet, then the case of Jeffrey Knapp
proves the impossibility of the task. For the playful-but-serious
exuberance of his writing seems indivisible from the
serious-but-playful exuberance of the life Jeffrey led as a
champion of art and culture, of teaching and parenting, of eating
and drinking and laughing and crying. "It's a wonderful experience,
joining the atmosphere," he writes, in the poem "The Acupuncture of
Heaven," a cry of cosmic solidarity that presumes the membrane
between the self and the world to be as permeable as the boundary
between art and life. We can only hope that Jeffrey is right about
that, and that when our time comes we find him waiting for us with
a new poem a glass of wine. In the meantime, reading this
collection is itself a wonderful experience, and a reminder of the
remarkable talent, charm, intelligence, wit and boundless energy of
Jeffrey Knapp. -Campbell McGrath
Most contemporary critics characterize Shakespeare and his tribe of
fellow playwrights and players as resolutely secular, interested in
religion only as a matter of politics or as a rival source of
popular entertainment. Yet as Jeffrey Knapp demonstrates in this
radical new reading, a surprising number of writers throughout the
English Renaissance, including Shakespeare himself, represented
plays as supporting the cause of true religion.
To be sure, Renaissance playwrights rarely sermonized in their
plays, which seemed preoccupied with sex, violence, and crime.
During a time when acting was regarded as a kind of vice, many
theater professionals used their apparent godlessness to advantage,
claiming that it enabled them to save wayward souls the church
could not otherwise reach. The stage, they argued, made possible an
ecumenical ministry, which would help transform Reformation England
into a more inclusive Christian society.
Drawing on a variety of little-known as well as celebrated plays,
along with a host of other documents from the English Renaissance,
"Shakespeare's Tribe" changes the way we think about Shakespeare
and the culture that produced him.
Winner of the Best Book in Literature and Language from the
Association of American Publishers' Professional/Scholarly
division, the Conference on Christianity and Literature Book Award,
and the Roland H. Bainton Prize for Literature from the Sixteenth
Century Society and Conference.
What caused England's literary renaissance? One answer has been
such unprecedented developments as the European discovery of
America. Yet England in the sixteenth century was far from an
expanding nation. Not only did the Tudors lose England's sole
remaining possessions on the Continent and, thanks to the
Reformation, grow spiritually divided from the Continent as well,
but every one of their attempts to colonize the New World actually
failed. Jeffrey Knapp accounts for this strange combination
of literary expansion and national isolation by showing how the
English made a virtue of their increasing insularity. Ranging
across a wide array of literary and extraliterary sources, Knapp
argues that English poets rejected the worldly acquisitiveness of
an empire like Spain's and took pride in England's material
limitations as a sign of its spiritual strength. In the imaginary
worlds of such fictions as Utopia, The Faerie Queene, and The
Tempest, they sought a grander empire, founded on the
"otherworldly" virtues of both England and poetry
itself. This title is part of UC Press's Voices Revived
program, which commemorates University of California Press's
mission to seek out and cultivate the brightest minds and give them
voice, reach, and impact. Drawing on a backlist dating to 1893,
Voices Revived makes high-quality, peer-reviewed scholarship
accessible once again using print-on-demand technology. This title
was originally published in 1992.Â
What caused England's literary renaissance? One answer has been
such unprecedented developments as the European discovery of
America. Yet England in the sixteenth century was far from an
expanding nation. Not only did the Tudors lose England's sole
remaining possessions on the Continent and, thanks to the
Reformation, grow spiritually divided from the Continent as well,
but every one of their attempts to colonize the New World actually
failed. Jeffrey Knapp accounts for this strange combination
of literary expansion and national isolation by showing how the
English made a virtue of their increasing insularity. Ranging
across a wide array of literary and extraliterary sources, Knapp
argues that English poets rejected the worldly acquisitiveness of
an empire like Spain's and took pride in England's material
limitations as a sign of its spiritual strength. In the imaginary
worlds of such fictions as Utopia, The Faerie Queene, and The
Tempest, they sought a grander empire, founded on the
"otherworldly" virtues of both England and poetry
itself. This title is part of UC Press's Voices Revived
program, which commemorates University of California Press's
mission to seek out and cultivate the brightest minds and give them
voice, reach, and impact. Drawing on a backlist dating to 1893,
Voices Revived makes high-quality, peer-reviewed scholarship
accessible once again using print-on-demand technology. This title
was originally published in 1992.Â
Shakespeare's plays were immensely popular in their own day - so
why do we refuse to think of them as mass entertainment? In
Pleasing Everyone, author Jeffrey Knapp opens our eyes to the
uncanny resemblance between Renaissance drama and the
incontrovertibly mass medium of Golden-Age Hollywood cinema.
Through fascinating explorations of such famous plays as Hamlet,
The Roaring Girl, and The Alchemist, and such celebrated films as
Citizen Kane, The Jazz Singer, and City Lights, Knapp challenges
some of our most basic assumptions about the relationship between
art and mass audiences. Above all, Knapp encourages us to resist
the prejudice that mass entertainment necessarily simplifies and
cheapens whatever it touches. As Knapp shows, it was instead the
ceaseless pressure to please everyone that helped generate the
astonishing richness and complexity of Renaissance drama as well as
of Hollywood film.
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