A Student Handbook to the Plays of Arthur Miller provides the essential guide to Miller's most studied and revived dramas. Authored by a team of leading scholars, it offers students a clear analysis and detailed commentary on five of Miller's plays: Death of a Salesman, The Crucible, A View from the Bridge, All My Sons and Broken Glass. A consistent framework of analysis ensures that whether readers want a summary of the play, a commentary on the themes or characters, or a discussion of the work in performance, they can readily find what they need to develop their understanding and aid their appreciation of Miller's artistry. A chronology of Miller's life and work helps to situate his oeuvre in context and the introduction reinforces this by providing a clear overview of his writing, its recurrent themes and how these are intertwined with his life and times. For each play the author provides a summary of the plot, followed by commentary on: the contextthemescharactersstructure and languagethe play in production (both on stage and screen adaptations)questions for studynotes on words and phrases in the text The wealth of authoritative and clear commentary on each play, together with further questions that encourage comparison across Miller's work and related plays by other leading writers, ensures that this is the clearest and fullest guide to Miller's greatest plays.

First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

(Limelight). "A fat, lavishly illustrated run through of...50 Hollywood movies from the 1930s up to a few years after World War II...valuable and entertaining today not only as a social record but as sheer entertainment... Zinman] begins with Mae West's classic She Done Him Wrong and touches all the cinematic landmarks, including Casablanca, Citizen Kane, and Gone with the Wind ..." Publisher's Weekly

With the end of the Cold War, the death of Communism, and the decline of Socialism, what are the primary issues, ideologies, and parties that now structure politics? Melzer, Zinman, and Weinberger have compiled essays from prominent experts to examine the politics of the past to help plot the political future. The first half of the volume addresses OIdentity PoliticsO and OBig GovernmentO and their respective places in the shaping of the United States political environment since the end of the Cold War. The second half of the volume focuses on the political climate in Western Europe, Russia, India, and China.

This collection of essays and interviews is the first book about the drama of American playwright Terrence McNally; it examines his career to date (30-plus years), focusing particularly on the two plays for which McNally won Tony Awards for Best Play of 1995, "Love!" "Valour! Compassion!, "and Best Play of 1996, "Master Class."
Toby Zinman, a distinguished scholar and critic, has invited none respected authorities to write about McNally's work, and has included records of the long conversations she had with the playwright about his work, his love of opera, his ideas about acting and education, and life in general. Also included are two interviews she conducted with two of his leading actors: one with the legendary Zoe Caldwell, who played the even more legendary Maria Callas in "Master Class," a performance that earned her the Tony Award for Best Actress in 1996, a role McNally wrote for her, and another with the great American comic actor, Nathan Lane, whom McNally considers his foremost interpreter.
The collection moves chronologically, beginning with Howard Stein's essay on the promise of the plays of the first decade, through to Cary Mazer's essay on the diva in "Master Class," a play about Maria Callas' master classes at Juilliard; that essay is preceded by an essay on those famous master classes by John Ardoin, the world's foremost authority on Maria Callas.
In between there are two essays debating McNally's position as a gay playwright, one by John Clum and one by Steven Drukman, both centering on the firestorm of controversy generated by "Love! Valour! Compassion!" In addition, there is an essay on "The Lisbon Traviata "by Sam Abel which discusses the play'smuch-revised conclusion (to murder or not to murder) and another on McNally's screenplays of "Frankie and Johnny in the Clair de Lune, "and "The Ritz," by Helen Buttel, a film critic. This is followed by Stephen Watt's examination of McNally as a postmodernist, using "Lips Together, Teeth" "Apart" as his focus, and Benilde Montgomery's essay on Indian myth as it informs McNally's play (soon to be a film) "A Perfect Ganesh"
The volume also includes in its introduction the latest information on McNally's newest projects, an extensive bibliography, and a chronology of the playwright's career.

Whether intellectuals are counter-cultural escapists corrupting the young or secular prophets leading us to prosperity, they are a fixture of modern political life. In The Public Intellectual: Between Philosophy and Politics, Arthur M. Melzer, Jerry Weinberger, and M. Richard Zinman bring together a wide variety of noted scholars to discuss the characteristics, nature, and role of public thinkers. By looking at scholarly life in the West, this work explores the relationship between thought and action, ideas and events, reason and history.

"Replay: Classic Modern Drama Reimagined" spans over a century of great theatre to explore how iconic plays have been adapted and versioned by later writers to reflect or dissect the contemporary zeitgeist. Starting with "A Doll's House," Ibsen's much-reprised masterpiece of marital relations from 1879, Toby Zinman explores what made the play so controversial and shocking in its day before tracing how later reimaginings have reworked Ibsen's original. The spine of plays then includes such landmark works as Strindberg's "Miss Julie," Oscar Wilde's comic "The Importance of Being Earnest," Chekhov's "Three Sisters" and "Uncle Vanya," Hansberry's "A Raisin in the Sun," the Rattigan centenary revivals, Thornton Wilder's "Our Town," ultimately arriving at Beckett's "Waiting for Godot." Taking each modern play as the starting point, Zinman explores the diverse renderings and reworkings by subsequent playwrights and artists -including prominent directors and their controversial productions as well as acknowledging reworkings in film, opera and ballet.Through the course of this groundbreaking study we discover not only how theatrical styles have changed but how society's attitude towards politics, religion, money, gender, sexuality and race have radically altered over the course of the century. In turn "Replay" reveals how theatre can serve as both a reflection of our times and a provocation to them.

If you feel like you've got the wrong tone of voice, don't understand the ins-and-outs of grammar, or just don't feel confident writing about yourself without sounding like an idiot, read this book. Copywriter Tait Ischia is brief and to the point in an interesting and engaging way. Which is exactly what you want the words on your website/marketing stuff/professional bio to be too, right? Feel confident in what you say and how you say it when you put fingers to the keyboard. Waffling on should really be reserved for weekend breakfast.

From "Brown v. Board of Education" to "Roe v. Wade" to "Bush v. Gore," the Supreme Court has, over the past fifty years, assumed an increasingly controversial place in American national political life. As the recurring struggles over nominations to the Court illustrate, few questions today divide our political community more profoundly than those concerning the Court's proper role as protector of liberties and guardian of the Constitution. If the nation is today in the midst of a "culture war," the contest over the Supreme Court is certainly one of its principal battlefields.In this volume, distinguished constitutional scholars aim to move debate beyond the sound bites that divide the opposing parties to more fundamental discussions about the nature of constitutionalism. Toward this end, the volume includes chapters on the philosophical and historical origins of the idea of constitutionalism; on theories of constitutionalism in American history in particular; on the practices of constitutionalism around the globe; and on the parallel emergence of--and the persistent tensions between--constitutionalism and democracy throughout the modern world.In democracies, the primary point of having a constitution is to place some matters beyond politics and partisan contest. And yet it seems equally clear that constitutionalism of this kind results in a struggle over the meaning or proper interpretation of the constitution, a struggle that is itself deeply political. Although the volume represents a variety of viewpoints and approaches, this struggle, which is the central paradox of constitutionalism, is the ultimate theme of all the essays.

Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of "handmade cinema" from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema's shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Shorthand Teacher And Clerical Assistant Examination: Requirements, Scope And Method Of Preparation Meyer E. Zinman I. Pitman & Sons, 1916 Examinations; Shorthand

"Replay: Classic Modern Drama Reimagined" spans over a century of great theatre to explore how iconic plays have been adapted and versioned by later writers to reflect or dissect the contemporary zeitgeist. Starting with "A Doll's House," Ibsen's much-reprised masterpiece of marital relations from 1879, Toby Zinman explores what made the play so controversial and shocking in its day before tracing how later reimaginings have reworked Ibsen's original. The spine of plays then includes such landmark works as Strindberg's "Miss Julie," Oscar Wilde's comic "The Importance of Being Earnest," Chekhov's "Three Sisters" and "Uncle Vanya," Hansberry's "A Raisin in the Sun," the Rattigan centenary revivals, Thornton Wilder's "Our Town," ultimately arriving at Beckett's "Waiting for Godot." Taking each modern play as the starting point, Zinman explores the diverse renderings and reworkings by subsequent playwrights and artists -including prominent directors and their controversial productions as well as acknowledging reworkings in film, opera and ballet.Through the course of this groundbreaking study we discover not only how theatrical styles have changed but how society's attitude towards politics, religion, money, gender, sexuality and race have radically altered over the course of the century. In turn "Replay" reveals how theatre can serve as both a reflection of our times and a provocation to them.

Politics has taken a cultural turn in America, and the arts are at the center of today's culture wars. In this book, some of our most prominent cultural critics explore the relationships between culture and politics as played out in the world of novels, television, museums, and even fashion. The authors -- John Simon, Greil Marcus, Arthur C. Danto, and other well-known commentators from across the political spectrum -- examine the arts in their relation to democracy and consider whether and how they serve one another.

The authors consider such topics as high and popular culture in democratic America; the relation of democracy to classical, jazz, and folk music; and the artistic potential of the most democratic of all arts, the movies. All of the essays are as entertaining as they are thoughtful.

With its roots in popular sentiment, democracy will forever be entwined with art, a force that powerfully molds popular taste. Democracy and the Arts speaks elegantly to that relationship and reminds readers of its enduring importance.

Multiculturalism: is it the face of twenty-first century America or merely a passing intellectual fad? With its celebration of ethnic diversity and strong advocacy of tolerance, this contemporary movement provides philosophical justification for many who seek to correct social inequities. But while its proponents see it as a means of promoting self-esteem among marginalized groups, its critics see it as a dangerous form of relativism that culminates, paradoxically, in a new form of intolerance.

The fourteen essays in this volume address the pros and cons of multiculturalism and explore its relationship with liberal democracy. A team of stellar contributors--C. Vann Woodward, Linda Chavez, Stanley Fish, and others--offers viewpoints on multiculturalism from the perspectives of political theory, history, philosophy, and fiction.

The editors first help explain multiculturalism by contrasting it with the Sixties counterculture. How is it, they ask, that yesterday's radicals, so concerned with economic justice, have given way to the multiculturalist preoccupation with identity politics? The contributors then explore different facets of the multiculturalism issue: they present disparate views of the stakes involved as older notions of pluralism and assimilation give way to multiculturalism; examine it in its relation to the principles of liberal democracy; and assess its place in public education. In a final section, the role of the arts in the multiculturalism debate is addressed by celebrated novelists J. M. Coetzee and Mario Vargas Llosa.

Because multiculturalism is a movement without a leader or guiding document, its tenets remain difficult to define. This book not only tells what the controversy is about but also clarifies the concerns it should raise for thoughtful citizens. The points of view expressed here will prove helpful to those who are trying to frame their own opinions about multiculturalism--and they are guaranteed to spark new debate among those who have already chosen sides.

Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of "handmade cinema" from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema's shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.

It was during the Depression, with the Republican regime in disarray, that Franklin D. Roosevelt came into office with a mandate to change the role of government. His was one of the presidencies—like Jefferson’s, Jackson’s, and Lincoln’s before his, and Reagan’s after—that transformed the political system. But what of the successors of such transformative figures, those members and supporters of the new regime who are expected to carry forward the policies and politics of those they replace? It is these “heir apparent” presidents, impossibly tasked with backward-looking progress, that Donald Zinman considers in this incisive look at the curious trajectories of political power.An heir apparent president, in Zinman’s analysis, can be successful but will struggle to get credit for his achievements. He must contend with the consequences of his predecessor's policies while facing a stronger opposition and sitting atop an increasingly weakened and divided party. And he will invariably alternate between three approaches to leadership: continuity, expansion, and correction. Looking in depth at James Madison, Martin Van Buren, Ulysses S. Grant (an heir apparent as the first genuine Republican to succeed Lincoln), Harry S. Truman, and George H. W. Bush, Zinman reveals how these successors of regime-changing presidents at times suffered for diverging from their predecessors’ perceived policies. At times these presidents also suffered from the consequences of the policies themselves or simply from changing political circumstances. What they rarely did, as becomes painfully clear, is succeed at substantially changing the policies and politics that they inherited. It is a perilous and often thankless business, as The Heir Apparent Presidency makes abundantly clear, to follow and lead at once. Tracing the ways in which heir apparent presidents have met this challenge, this book offers rare and valuable insight into the movement of political time, and the shaping of political order.