|
Showing 1 - 16 of
16 matches in All Departments
Kein Stein bleibt auf dem anderen, seit Alik Sokolov als Kredithai
in Deutschland das Zepter schwingt. Was Wunder aber auch bei den
Wucherzinsen fur Start-ups wie Mobit, ein Unternehmen, das drauf
und dran ist, mit der klassischen Teleportation in die Annalen
einzugehen. Und selbst wenn die Autohersteller demnach wenigstens
noch uber den Personenverkehr gebieten, haben die so schon durch
den chinesischen Vorstoss von Middle Kingdom genug Probleme am
Hals. Der Grund jedenfalls fur Kleinanleger wie Andrey Zosimoff,
die Mittel aus heimischen Traditionsunternehmen abzuziehen und sie
stattdessen Zockern wie Alik Sokolov und sohin Mobit anzuvertrauen.
Paradoxerweise investiert Mobit allerdings die erhaltenen Gelder in
Middle Kingdom. Und erst scheint die Rechnung auch aufzugehen, ist
der Borsengang der Chinesen ein Mordserfolg und vermag Mobit mit
dem Verkauf einzelner Papiere den Zahlungsaufforderungen Alik
Sokolovs spielend nachzukommen. Wie sich freilich der MK Mini als
Reinfall entpuppt und sich die institutionellen Investoren nach und
nach von ihren Papieren trennen, ist die Kacke am Dampfen, ruhrt
selbst eine Mutti, die Frau Bundeskanzlerin, vergeblich die Trommel
... Unter der Rose ist eine Politsatire, kurzweilig, spritzig,
pfiffig, phasenweise spannend auch wie ein Thriller. Von
Prostitution uber Mord bis hin zum schmahlichen
Vertrauensmissbrauch und Ende einer Freundschaft bietet sie alles,
um den Leser auf seiner Reise zur versohnlichen Losung bei Laune zu
halten
'Much drink may be said to be an equivocator with lechery: it makes
him, and it mars him; it sets him on, and it takes him off; it
persuades him, and disheartens him; makes him stand to, and not
stand to: in conclusion, equivocates him in a sleep, and, giving
him the lie, leaves him.' Porter, Macbeth, II i. Why would
Elizabethan audiences find Shakespeare's Porter in Macbeth so
funny? And what exactly is meant by the name the 'Weird' Sisters?
Jonathan Hope, in a comprehensive and fascinating study, looks at
how the concept of words meant something entirely different to
Elizabethan audiences than they do to us today. In Shakespeare and
Language: Reason, Eloquence and Artifice in the Renaissance, he
traces the ideas about language that separate us from Shakespeare.
Our understanding of 'words', and how they get their meanings,
based on a stable spelling system and dictionary definitions,
simply does not hold. Language in the Renaissance was speech rather
than writing - for most writers at the time, a 'word' was by
definition a collection of sounds, not letters - and the
consequences of this run deep. They explain our culture's inability
to appreciate Shakespeare's wordplay, and suggest that a rift
opened up in the seventeenth century as language came to be
regarded as essentially 'written'. The book also considers the
visual iconography of language in the Renaissance, the influence of
the rhetorical tradition, the extent to which Shakespeare's late
style is driven by a desire to increase the subjective content of
the text, and new ways of studying Shakespeare's language using
computers. As such it will be of great interest to all serious
students and teachers of Shakespeare. Despite the complexity of its
subject matter, the book is accessibly written with an
undergraduate readership in mind.
This edited volume provides a biosemiotic analysis of the
ecological relationship between food and medicine. Drawing on the
origins of semiotics in medicine, this collection proposes
innovative ways of considering aliments and treatments. Considering
the ever-evolving character of our understanding of meaning-making
in biology, and considering the keen popular interest in issues
relating to food and medicines - fueled by an increasing body of
interdisciplinary knowledge - the contributions here provide
diverse insights and arguments into the larger ecology of
organisms' engagement with and transformation through taking in
matter. Bodies interpret molecules, enzymes, and alkaloids they
intentionally and unintentionally come in contact with according to
their pre-existing receptors. But their receptors are also changed
by the experience. Once the body has identified a particular
substance, it responds by initiating semiotic sequences and
negotiations that fulfill vital functions for the organism at
macro-, meso-, and micro-scales. Human abilities to distill and
extract the living world into highly refined foods and medicines,
however, have created substances far more potent than their
counterparts in our historical evolution. Many of these substances
also lack certain accompanying proteins, enzymes, and alkaloids
that otherwise aid digestion or protect against side-effects in
active extracted chemicals. Human biology has yet to catch up with
human inventions such as supernormal foods and medicines that may
flood receptors, overwhelming the body's normal satiation
mechanisms. This volume discusses how biosemioticians can come to
terms with these networks of meaning, providing a valuable and
provocative compendium for semioticians, medical researchers and
practitioners, sociologists, cultural theorists, bioethicists and
scholars investigating the interdisciplinary questions stemming
from food and medicine.
The Politics of Tragicomedy: Shakespeare and After offers a series
of sophisticated and powerful readings of tragicomedy from
Shakespeare's late plays to the drama of the Interregnum. Rejecting
both the customary chronological span bounded by the years 1603-42
(which presumes dramatic activity stopped with the closing of the
theatres) and the negative critical attitudes that have dogged the
study of tragicomedy, the essays in this collection examine a
series of issues central to the possibility of a politics for the
genre. Individual essays offer important contributions to
continuing debates over the role of the drama in the years
preceding the Civil War, the colonial contexts of The Tempest, the
political character of Jonson's late plays, and the agency of women
as public and theatre actors. The introduction presents a strong
challenge to previous definitions of tragicomedy in the English
context, and the collection as a whole is characterized by its
rejection of absolutist strategies for reading tragicomedy. This
collection will prove essential reading for all with an interest in
the politics of Renaissance drama; for specialists in the work of
Shakespeare, Fletcher, and Jonson; for those interested in genre
and dramatic forms; and for historians of early Stuart England.
Using a wide range of twentieth-century literary prose Laura Wright
and Jonathan Hope provide an `interactive' introduction to the
techniques of stylistic analysis. Divided up into five sections;
the noun phrase, the verb phrase, the clause, text structure and
vocabulary, the book also provides an introduction to the basics of
descriptive grammar for beginning students. * Presumes no prior
linguistic knowledge * Provides a comprehensive glossary of terms *
Adaptable: designed to be used in a variety of classroom contexts *
Introduces students to an enormous range of 20th century literature
from James Joyce to Roddy Doyle A practical coursebook rather than
a survey account of stylistics as a discipline, the book provides
over forty opportunities for hands-on stylistic analysis. For each
linguistic feature under discussion the reader is offered a
definition, a text for analysis, exercises and tasks, in addition
to a suggested solution. Stylistics: A Practical Coursebook is
genuinely `student friendly' and will be an invaluable tool for all
beginning undergraduates and A-level students of language and
literature.
A comparative reference guide to Shakespeare's grammar, based on a
complete revision of an extremely elderly but still much-cited
volume, Abbott's Shakespearean Grammar, first published in 1869 and
still regarded by default as an essential component of Shakespeare
research. This volume meets the identified need for an
authoritative and systematic grammar of Shakespeare which takes
account both of current linguistic developments and of the current
state of knowledge about Early Modern English and enable editors
and readers both to understand and to contextualise Shakespeare's
use and manipulation of language, i.e. to locate it in the context
of other writings in Early Modern English.'Should be an essential
reference tool not only for Shakespeare editors but for university
and school teachers' ' Professor Ernst Honigmann, editor of Arden 3
Othello'...should become part of every reader's, and certainly
every teacher's, arsenal of central reference books' - Ruth Morse,
Shakespeare Survey
This book introduces a new method for determining the authorship of
Renaissance plays. Based on the rapid rate of change in English
grammar in the late sixteenth and early seventeenth centuries,
socio-historical linguistic evidence allows us to distinguish the
hands of Renaissance playwrights within play texts. The present
study focuses on Shakespeare: his collaborations with Fletcher and
Middleton; and the apocryphal plays. Among the plays examined are
Henry VIII, The Two Noble Kinsmen, Macbeth, Pericles, and Sir
Thomas More. The findings of the book allow us to be more confident
about the divisions of collaborative plays, and confirm the status
of Edward III as a strong candidate for inclusion in the canon.
Using graphs to present statistical data in a readily
comprehensible form, the book also contains a wealth of information
about the history of the English language during a period of
far-reaching change. The book will be of interest to students and
scholars of Shakespeare studies, English literature, the history of
the language and linguistics.
Why do we continue to experience many of Shakespeare's dramatic
characters as real people with personal histories, individual
personalities, and psychological depth? What is it that makes
Falstaff seem to jump off the page, and what gives Hamlet his
complexity? Shakespearean Character: Language in Performance
examines how the extraordinary lifelikeness of some of
Shakespeare's most enigmatic and self-conscious characters is
produced through language. Using theories drawn from linguistic
pragmatics, this book claims that our impression of characters as
real people is an effect arising from characters' pragmatic use of
language in combination with the historical and textual meanings
that Shakespeare conveys to his audience by dramatic and
meta-dramatic means. Challenging the notion of interiority
attributed to Shakespeare's characters by many contemporary
critics, theatre professionals, and audiences, the book
demonstrates that dramatic characters possess anteriority which
gives us the impression that they exist outside of- and prior to-
the play-texts as real people. Jelena Marelj's study examines five
linguistically self-conscious characters drawn from the genres of
history, tragedy and comedy, which continue to be subjects of
extensive critical debate: Falstaff, Cleopatra, Henry V, Katherine
from The Taming of the Shrew, and Hamlet. She shows that by
inferring Shakespeare's intentions through his characters' verbal
exchanges and the discourses of the play, the audience becomes
emotionally involved with or repulsed by characters and it is this
emotional response that makes these characters strikingly memorable
and intimately human. Shakespearean Character will equip readers
for further work on the genealogy of Shakespearean character,
including minor characters, stock characters, and allegorical
characters.
This edited volume provides a biosemiotic analysis of the
ecological relationship between food and medicine. Drawing on the
origins of semiotics in medicine, this collection proposes
innovative ways of considering aliments and treatments. Considering
the ever-evolving character of our understanding of meaning-making
in biology, and considering the keen popular interest in issues
relating to food and medicines - fueled by an increasing body of
interdisciplinary knowledge - the contributions here provide
diverse insights and arguments into the larger ecology of
organisms' engagement with and transformation through taking in
matter. Bodies interpret molecules, enzymes, and alkaloids they
intentionally and unintentionally come in contact with according to
their pre-existing receptors. But their receptors are also changed
by the experience. Once the body has identified a particular
substance, it responds by initiating semiotic sequences and
negotiations that fulfill vital functions for the organism at
macro-, meso-, and micro-scales. Human abilities to distill and
extract the living world into highly refined foods and medicines,
however, have created substances far more potent than their
counterparts in our historical evolution. Many of these substances
also lack certain accompanying proteins, enzymes, and alkaloids
that otherwise aid digestion or protect against side-effects in
active extracted chemicals. Human biology has yet to catch up with
human inventions such as supernormal foods and medicines that may
flood receptors, overwhelming the body's normal satiation
mechanisms. This volume discusses how biosemioticians can come to
terms with these networks of meaning, providing a valuable and
provocative compendium for semioticians, medical researchers and
practitioners, sociologists, cultural theorists, bioethicists and
scholars investigating the interdisciplinary questions stemming
from food and medicine.
This book introduces a new method for determining the authorship of
Renaissance plays. Based on the rapid rate of change in English
grammar in the late sixteenth and early seventeenth centuries,
socio-historical linguistic evidence allows us to distinguish the
hands of Renaissance playwrights within play texts. The present
study focuses on Shakespeare: his collaborations with Fletcher and
Middleton; and the apocryphal plays. Among the plays examined are
Henry VIII, The Two Noble Kinsmen, Macbeth, Pericles, and Sir
Thomas More. The findings of the book allow us to be more confident
about the divisions of collaborative plays, and confirm the status
of Edward III as a strong candidate for inclusion in the canon.
Using graphs to present statistical data in a readily
comprehensible form, the book also contains a wealth of information
about the history of the English language during a period of
far-reaching change. The book will be of interest to students and
scholars of Shakespeare studies, English literature, the history of
the language and linguistics.
Using a wide range of twentieth-century literary prose Laura Wright and Jonathan Hope provide an `interactive' introduction to the techniques of stylistic analysis. Divided up into five sections; the noun phrase, the verb phrase, the clause, text structure and vocabulary, the book also provides an introduction to the basics of descriptive grammar for beginning students. * Presumes no prior linguistic knowledge * Provides a comprehensive glossary of terms * Adaptable: designed to be used in a variety of classroom contexts * Introduces students to an enormous range of 20th century literature from James Joyce to Roddy Doyle A practical coursebook rather than a survey account of stylistics as a discipline, the book provides over forty opportunities for hands-on stylistic analysis. For each linguistic feature under discussion the reader is offered a definition, a text for analysis, exercises and tasks, in addition to a suggested solution. Stylistics: A Practical Coursebook is genuinely `student friendly' and will be an invaluable tool for all beginning undergraduates and A-level students of language and literature. eBook available with sample pages: 020314757X
What led Shakespeare to write his most cryptic poem, 'The Phoenix
and Turtle'? Could the Phoenix represent Queen Elizabeth, on the
verge of death as Shakespeare wrote? Is the Earl of Essex, recently
executed for treason, the Turtledove lover of the Phoenix?
Questions such as these dominate scholarship of both Shakespeare's
poem and the book in which it first appeared: Robert Chester's
enigmatic collection of verse, Love's Martyr (1601), where
Shakespeare's allegory sits next to erotic love lyrics by Ben
Jonson, George Chapman and John Marston, as well as work by the
much lesser-known Chester. Don Rodrigues critiques and revises
traditional computational attribution studies by integrating the
insights of queer theory to a study of Love's Martyr. A book deeply
engaged in current debates in computational literary studies, it is
particularly attuned to questions of non-normativity, deviation and
departures from style when assessing stylistic patterns. Gathering
insights from decades of computational and traditional analyses, it
presents, most radically, data that supports the once-outlandish
theory that Shakespeare may have had a significant hand in editing
works signed by Chester. At the same time, this book insists on the
fundamentally collaborative nature of production in Love's Martyr.
Developing a compelling account of how collaborative textual
production could work among early modern writers, Shakespeare's
Queer Analytics is a much-needed methodological intervention in
computational attribution studies. It articulates what Rodrigues
describes as 'queer analytics': an approach to literary analysis
that joins the non-normative close reading of queer theory to the
distant attention of computational literary studies - highlighting
patterns that traditional readings often overlook or ignore.
What led Shakespeare to write his most cryptic poem, ‘The Phoenix
and Turtle’? Could the Phoenix represent Queen Elizabeth, on the
verge of death as Shakespeare wrote? Is the Earl of Essex, recently
executed for treason, the Turtledove lover of the Phoenix?
Questions such as these dominate scholarship of both
Shakespeare’s poem and the book in which it first appeared:
Robert Chester’s enigmatic collection of verse, Love’s Martyr
(1601), where Shakespeare’s allegory sits next to erotic love
lyrics by Ben Jonson, George Chapman and John Marston, as well as
work by the much lesser-known Chester. Don Rodrigues critiques and
revises traditional computational attribution studies by
integrating the insights of queer theory to a study of Love's
Martyr. A book deeply engaged in current debates in computational
literary studies, it is particularly attuned to questions of
non-normativity, deviation and departures from style when assessing
stylistic patterns. Gathering insights from decades of
computational and traditional analyses, it presents, most
radically, data that supports the once-outlandish theory that
Shakespeare may have had a significant hand in editing works signed
by Chester. At the same time, this book insists on the
fundamentally collaborative nature of production in Love’s
Martyr. Developing a compelling account of how collaborative
textual production could work among early modern writers,
Shakespeare’s Queer Analytics is a much-needed methodological
intervention in computational attribution studies. It articulates
what Rodrigues describes as ‘queer analytics’: an approach to
literary analysis that joins the non-normative close reading of
queer theory to the distant attention of computational literary
studies – highlighting patterns that traditional readings often
overlook or ignore.
Why do we continue to experience many of Shakespeare's dramatic
characters as real people with personal histories, individual
personalities, and psychological depth? What is it that makes
Falstaff seem to jump off the page, and what gives Hamlet his
complexity? Shakespearean Character: Language in Performance
examines how the extraordinary lifelikeness of some of
Shakespeare's most enigmatic and self-conscious characters is
produced through language. Using theories drawn from linguistic
pragmatics, this book claims that our impression of characters as
real people is an effect arising from characters' pragmatic use of
language in combination with the historical and textual meanings
that Shakespeare conveys to his audience by dramatic and
meta-dramatic means. Challenging the notion of interiority
attributed to Shakespeare's characters by many contemporary
critics, theatre professionals, and audiences, the book
demonstrates that dramatic characters possess anteriority which
gives us the impression that they exist outside of- and prior to-
the play-texts as real people. Jelena Marelj's study examines five
linguistically self-conscious characters drawn from the genres of
history, tragedy and comedy, which continue to be subjects of
extensive critical debate: Falstaff, Cleopatra, Henry V, Katherine
from The Taming of the Shrew, and Hamlet. She shows that by
inferring Shakespeare's intentions through his characters' verbal
exchanges and the discourses of the play, the audience becomes
emotionally involved with or repulsed by characters and it is this
emotional response that makes these characters strikingly memorable
and intimately human. Shakespearean Character will equip readers
for further work on the genealogy of Shakespearean character,
including minor characters, stock characters, and allegorical
characters.
|
|