Unique gift, gratuity, reward, or prize for yourself or for the Shakespeare teachers, students, actors, and other bardolators in your life! . . . Blank, lined notebook that can be used for school or work or as a diary or journal. . . . 134 pages; 6x9 inches; white paper; matte-finished cover. . . . Look for other Sam Diego designs.
'And when I shall die, Take him and cut him out in little stars.' This collection of Shakespeare's soliloquies, including both old favourites and lesser-known pieces, shows him at his dazzling best. One of 46 new books in the bestselling Little Black Classics series, to celebrate the first ever Penguin Classic in 1946. Each book gives readers a taste of the Classics' huge range and diversity, with works from around the world and across the centuries - including fables, decadence, heartbreak, tall tales, satire, ghosts, battles and elephants.
The show crept into town late one dark October night to the eerie whine of a calliope. In the terrifying days that followed, everything changed... Two boys stumbled onto the first of the secrets - the nightmare merry-go-round that produced the grisly turnabout of human beings. But not until they actually became part of the dance of death did they discover the final mystery of all...
This volume examines the rise of an emerging sport as a grassroots effort (or “new social movement”), arguing that the growth of non-normative sports movements occurs through two social processes: one driven primarily by product development, commercialization, and consumption, and another that relies upon public resources and grassroots efforts. Through the lens of disc golf, informed by the author’s experience both playing and researching the sport, Joshua Woods here explores how non-normative sports development depends on the consistency of insider culture and ideology, as well as on how the movement navigates a broad field of market competition, government regulation, community characteristics, public opinion, traditional media, social media and technological change. Throughout, the author probes why some sports grow faster than others, examining cultural tendencies toward sport, individual choices to participate, and the various institutional forces at play.
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
DIVAn American poetry classic, in which former citizens of a mythical midwestern town speak touchingly from the grave of the thwarted hopes and dreams of their lives. /div
DUNCAN.What bloody man is that? He can report, As seemeth by his plight, of the revoltThe newest state.MALCOLM.This is the sergeantWho, like a good and hardy soldier, fought'Gainst my captivity.-Hail, brave friend!Say to the King the knowledge of the broilAs thou didst leave it.SOLDIER.Doubtful it stood;As two spent swimmers that do cling togetherAnd choke their art. The merciless Macdonwald(Worthy to be a rebel, for to thatThe multiplying villainies of natureDo swarm upon him) from the Western IslesOf kerns and gallowglasses is supplied;And Fortune, on his damned quarrel smiling, Show'd like a rebel's whore. But all's too weak;For brave Macbeth (well he deserves that name), Disdaining Fortune, with his brandish'd steel, Which smok'd with bloody execution, Like Valour's minion, carv'd out his passage, Till he fac'd the slave;Which ne'er shook hands, nor bade farewell to him, Till he unseam'd him from the nave to the chops, And fix'd his head upon our batt
Daemonologie-in full Daemonologie, In Forme of a Dialogue, Divided into three Books: By the High and Mighty Prince, James &c.-was written and published in 1597 by King James VI of Scotland (later also James I of England) as a philosophical dissertation on contemporary necromancy and the historical relationships between the various methods of divination used from ancient black magic. This included a study on demonology and the methods demons used to bother troubled men while touching on topics such as werewolves and vampires. It was a political yet theological statement to educate a misinformed populace on the history, practices and implications of sorcery and the reasons for persecuting a witch in a Christian society under the rule of canonical law. This book is believed to be one of the main sources used by William Shakespeare in the production of Macbeth. Shakespeare attributed many quotes and rituals found within the book directly to the Weird Sisters, yet also attributed the Scottish themes and settings referenced from the trials in which King James was involved.
