The year is 1895 and Sarah Bernhardt is the greatest actress to ever grace the Victorian stage - just ask her! The "Divine Sarah" fears, however, her once bright star may be fading with all the attention suddenly being lavished on a talented, younger rival. When she stumbles across an incredible new script written by a naïve, but up-and-coming playwright, though, Sarah is convinced her path to theatrical immortality is assured? until her rival also gets her hands on a copy. Throw in a fuss-budget theatre manager, a stern Teutonic maid, a nimble-footed usher, plus a hilarious jumble of confusions and complications - and the stage is set for the ultimate showdown as the two dueling divas cross wits and blades in this frantically funny farce!
New essays on theological, political, and contemporary themes, by the Pulitzer Prize winner Marilynne Robinson has plumbed the human spirit in her renowned novels, including Lila, winner of the National Book Critics Circle Award, and Gilead, winner of the Pulitzer Prize and the National Book Critics Circle Award. In this new essay collection she trains her incisive mind on our modern political climate and the mysteries of faith. Whether she is investigating how the work of great thinkers about America like Emerson and Tocqueville inform our political consciousness or discussing the way that beauty informs and disciplines daily life, Robinson’s peerless prose and boundless humanity are on full display. What Are We Doing Here? is a call for Americans to continue the tradition of those great thinkers and to remake American political and cultural life as “deeply impressed by obligation [and as] a great theater of heroic generosity, which, despite all, is sometimes palpable still.”
6,000 years of secrets, finally revealed. It's going to be okay. For a certain value of okay. The final volume of the commercial pop sensation is so momentous, it can't be held in one volume. Join us for this oversized two-book package that brings our cycle to an end. Collects THE WICKED + THE DIVINE #34-45, all six Specials, and extras!
This edited volume brings together the latest research on fictive interaction, that is the use of the frame of ordinary conversation as a means to structure cognition (talking to oneself), discourse (monologues organized as dialogues), and grammar (“why me? attitude”). This follows prior work on the subject by Esther Pascual and other authors, most of whom are also contributors to this volume. The 17 chapters in the volume explore fictive interaction as a fundamental cognitive phenomenon, as a ubiquitous discourse-structuring device, as a possibly universal linguistic construction, and as an effective communicative strategy in persuasion and language pathology. The data discussed involve a wide variety of unrelated languages (spoken and signed) and modes of communication (oral, written, visual), across cultural contexts and historical time. The research presented combines linguistics and cognitive science, while bridging the gap between core grammatical studies and modern conversation and discourse analysis. The volume further reaches across what may be the most basic divide in linguistics: that between descriptive, theoretical, and applied linguistics.
From the mid-90s to the present, television drama with religious content has come to reflect the growing cultural divide between white middle-America and concentrated urban elites. As author Charlotte E. Howell argues in this book, by 2016, television narratives of white Christianity had become entirely disconnected from the religion they were meant to represent. Programming labeled 'family-friendly' became a euphemism for white, middlebrow America, and developing audience niches became increasingly significant to serial dramatic television. Utilizing original case studies and interviews, Divine Programming investigates the development, writing, producing, marketing, and positioning of key series including 7th Heaven, Friday Night Lights, Rectify, Supernatural, Jane the Virgin, Daredevil, and Preacher. As this book shows, there has historically been a deep ambivalence among television production cultures regarding religion and Christianity more specifically. It illustrates how middle-American television audiences lost significance within the Hollywood television industry and how this in turn has informed and continues to inform television programming on a larger scale. In recent years, upscale audience niches have aligned with the perceived tastes of affluent, educated, multicultural, and-importantly-secular elites. As a result, the televised representation of white Christianity had to be othered, and shifted into the unreality of fantastic genres to appeal to niche audiences. To examine this effect, Howell looks at religious representation through four approaches - establishment, distancing, displacement, and use - and looks at series across a variety of genres and outlets in order to provied varied analyses of each theme.
Modernist poets, Godly Romantics, what really happened during the fall of Rome, and the Lucifer who was a medieval nun Also includes the delights of the WicDiv Christmas Annual and the Comedy Special. Collects all six of THE WICKED + THE DIVINE's essential Specials including the CHRISTMAS ANNUAL and THE FUNNIES!
An Investigation of the 16th-18th Century Puritan Vernacular Tradition argues that Puritan writers, specifically from the 17th to the 19th century, developed a collective vernacular which was intended to—in the words of John Milton—"justify the ways of God to man." However, their phrases (much like the Puritans themselves) never achieved a sufficient level of uniformity. As a result, their verbiage, though quite often similar, the manner in which it is used frequently differs. Puritan authors' routine suggestion that certain circumstances "pleased God" began as an attempt with which to interpret God's involvement in their day-to-day lives. However, as time passed, these interpretations became further removed from the Scripture and ultimately functioned as a way for writers to indict God when things badly or to praise him only when he showed them favor.
