With more than 1 million greeting cards sold, Scott Hilburn's The Argyle Sweater dresses up the funny page with an argyle-wearing assortment of cavemen, bears, moths, and pompadour-styled humans, along with an occasional evil scientist. Boasting a readership ranging from the Washington Post and the Los Angeles Times to the Calgary Herald, The Argyle Sweater fuses Hilburn's visceral talent and bold pen stroke. What results is a cerebrally astute cartoon panel that comments on popular culture, human nature, and society in a clever and spontaneous way.
With more than one million greeting cards sold, Scott Hilburn's The Argyle Sweater dresses up the funny page with an argyle-wearing assortment of cavemen, bears, moths and pompadour-styled humans, along with an occasional evil scientist.Boasting a readership ranging from the Washington Post and the Los Angeles Times to the Calgary Herald, The Argyle Sweater fuses Hilburn's visceral talent and bold pen stroke. What results is a cerebrally-astute cartoon panel that comments on popular culture, human nature and society in a clever and spontaneous way.
'...Rubinstein is far from innocent and comes to our aid with a lot of learning...and is quite right to urge that not to appreciate the sexiness of Shakespeare's language impoverishes our own understanding of him. For one thing, it was a strong element in his appeal to Elizabethans, who were much less woolly-mouthed and smooth-tongued than we are. For another, it has constituted a salty preservative for his work, among those who can appreciate it...an enlightening book.' A.L.Rowse, The Standard.
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Editors of Shakespeare's Complete Works must decide what to include. Although not in the First Folio collection of 1623, The Two Noble Kinsmen and Edward III have now entered the canon as plays co-authored by Shakespeare. Determining the Shakespeare Canon makes the case for lifting Arden of Faversham, first published in 1592, over the same threshold. A wealth of evidence indicates that Shakespeare was wholly or largely responsible for several of its central scenes (constituting Act III in editions divided into acts), and that the domestic tragedy can thus be added to the mounting list of his dramatic collaborations. Shakespeare's beginnings as a playwright are due for reconsideration. The second half of this volume provides solid grounds for accepting that publisher Thomas Thorpe's inclusion of A Lover's Complaint within the 1609 quarto of Shakespeare Sonnets was justified. While A Lover's Complaint has long been part of the Shakespeare canon, according to most editors, the poem's authenticity has been vigorously challenged in recent years. Its status is crucial to how critics assess the authority of the quarto's ordering of sonnets and interpret the structure of the sequence as a whole. These two problems of attribution are each addressed in five separate chapters that describe the converging results of different approaches and rebut counter-arguments. Stylometric techniques, using the resources of computers and electronic databases, are applied and the research methodologies of other scholars explained and evaluated. Quantitative tests are supplemented with traditional literary-critical analysis.
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Rock-star music director, spy, and deadly vampire Dragan Zajicek takes the podium of a small orchestra near Chicago as a cover to investigate rumors of a monstrous, impossible-to-defeat vampire known as the Soul Stealer. There Dragan meets gorgeous-but-doesn’t-know-it flutist Raquel “Rocky” Hrbek who is investigating the monster vampire herself. Cruelty made Rocky a shy shadow of herself, except for when performing on her flute. So when shockingly virile, filthy rich, gorgeous Dragan inexplicably pays attention to her, it threatens her protective shell . After a tragedy killed his family, Dragan walled off his heart, threw out rules and went rampaging with the bad boys. Rocky’s sweet nature threatens to shatter his hard-won defiance. Yet as they track down the rumors the two are drawn closer—until the Soul Stealer appears and zeroes in on Rocky. Now she and Dragan must find a way to destroy an indestructible creature before Rocky is utterly consumed and Chicago is bathed in blood. Each book in the Biting Love series is a standalone story that can be enjoyed in any order. Series Order: Book #1: Bite My Fire Book #2: Biting Nixie Book #3: The Bite of Silence novella Book #4: Biting Me Softly Book #5: Biting Oz Book #6: Beauty Bites Book #7: Downbeat Book #8: Assassin’s Bite Book #9: Passion Bites
MEDIEVAL AND RENAISSANCE DRAMA IN ENGLAND, now over twenty years in publication, is an international journal committed to the publication of essays and reviews relevant to drama and theatre history to 1642. MaRDiE 23 features essays by MacDonald P. Jackson on authorship as related to Shakespeare, Kyd, and Arden of Faversham. James Hirsh considers the editing of Hamlet's 'To be, or not to be' in light of both conventional and emerging editorial theory. Politics and prophecy, as they influence Friar Bacon and Friar Bungay is at the centre of Brian Walsh's contribution, while John Curran uses declamation as a rhetorical strategy in order to focus on character in the Fletcher-Massinger plays. Chris Fitter considers vagrancy and 'vestry values' in Shakespeare's As You Like It and June Schlueter reconsiders the matter of theatrical cartography and The View of London from the North. The collection of reviews range from books on early modern dietaries and Shakespeare's plays to those on male friendship and theatre economics.
