ELT & Literary Studies

'In today's world, errybody got a story. It's overwhelming. How! The humanity! O! Everywhere, someone appealing to yo sense of… empathy.' Tambo and Bones are stuck in a minstrel show. It's hard to know what's real when you're stuck in a minstrel show. Their escape plan: get out, get rich, get even. A daring theatrical exploration of the intersection of race, capitalism and performance, Dave Harris's play Tambo & Bones laughs through our past, blows the roof off our present, and imagines an explosive future for our world and for theatre. Tambo & Bones was commended in the 2019 Bruntwood Prize for Playwriting, and was first performed in a co-production between Playwrights Horizons, New York City, and Center Theatre Group, Los Angeles, in 2022. It was first produced in the UK in 2023 by Theatre Royal Stratford East, London, and Actors Touring Company, directed by Matthew Xia.

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Nothing cuts into us like the family knife.The Webster House. 1965. 1979. 1985. 1990. 2016. Death silences no one, least of all the dead. Set against the ever-changing industrial landscape of working-class Britain, Beth Steel's revelatory new play spans five decades in the lives, and deaths, of the Webster family. The House of Shades premiered at the Almeida in May 2022.Best Play, 2023 Writers' Guild Awards - Shortlisted. Beth Steel won Most Promising Playwright at the Evening Standard Theatre Awards.

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In Lovebug, Daisy Lafarge explores metaphors of love and disease as she seeks to understand human vulnerability and our intimacy with microbial life. Turning to microbiology, mysticism, and psychoanalysis – as well as the raw materials of love and life – Lafarge navigates the uncomfortable intimacy between the human body and the many bacteria, vi-ruses, and parasites to which it is host. Lovebug is a book about the poetics of infection, and about how we can learn to live with multispecies ambivalence. How might we forge non-phobic relationships to our ‘little beasts’? How might we re-wild our imaginations? In weaving the personal with the pathological, Lovebug complicates the idea of coherent selfhood, revealing life as a site of radical vulnerability and an ongoing negotiation with limit.

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Collective Winner of the 2019 Highland Book Prize Under the ravishing light of an Alaskan sky, objects are spilling from the thawing tundra linking a Yup'ik village to its hunter-gatherer past. In the shifting sand dunes of a Scottish shoreline, impressively preserved hearths and homes of Neolithic farmers are uncovered. In a grandmother's disordered mind, memories surface of a long-ago mining accident and a 'mither who was kind'. For this luminous new essay collection, acclaimed author Kathleen Jamie visits archaeological sites and mines her own memories - of her grandparents, of youthful travels - to explore what surfaces and what reconnects us to our past. As always she looks to the natural world for her markers and guides. Most movingly, she considers, as her father dies, and her children leave home, the surfacing of an older, less tethered sense of herself. Surfacing offers a profound sense of time passing and an antidote to all that is instant, ephemeral, unrooted.

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Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Why do we sign our names? How can a squiggle both enslave and liberate? Signatures often require a witness—as if the scrawl itself is not enough. What other kinds of beliefs and longings justify our signing practices? Signature addresses these questions as it roams from a roundtable on the Greek island of Syros, to a scene of handwriting analysis conducted in an English pub, from a wedding in Moscow, where guests sign the bride’s body, to a San Franciscan tattoo parlor interested in arcane forms. The signature’s history encompasses ancient handprints on cave walls, autograph hunters, the branding of slaves, metaphysical poetry, medical malpractice, hip-hop lyrics, legal challenges to electronic signatures, ice cores harvested from Greenland, and tales of forgery and autopens. Part cultural chronicle, part travelogue, Signature pursues the identifying marks made by people, animals, and planetary forces, revealing the stories and fantasies hidden in their signatures. Object Lessons is published in partnership with an essay series in The Atlantic.

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Tone is a collaborative study of literary tone, a notoriously challenging and slippery topic for criticism. Both granular and global, infusing a text with feeling, tone is so difficult to pin down that responses to it often take the vague form of “I know it when I see it.”In Tone, a cooperative authorial voice under the name of the Committee to Investigate Atmosphere begins from the premise that tone is relational, belonging to shared experience rather than a single author, and should be approached through a communal practice. In partnership, the Committee explores the atmospheres emanating from texts by Nella Larsen, W. G. Sebald, Heike Geissler, Hiroko Oyamada, Mieko Kanai, Bhanu Kapil, Franz Kafka, Renee Gladman, and others, attending to the chafing of political irritation, the hunger of precarious and temporary work, and the lonely delights of urban and suburban walks.This study treats a variety of questions: How is tone filtered through translation? Can a text hold the feelings that pass between humans and animals? What can attention to literary tone reveal about shared spaces such as factories, universities, and streets and the clashes and connections that happen there? Searching and conversational, Tone seeks immersion in literary affect to convey the experience of reading—and living—together.

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Dyma’r astudiaeth gyflawn gyntaf o eirfa Dafydd ap Gwilym. Dangosir ynddi sut y creodd Dafydd farddoniaeth gyfoethog ac amlweddog trwy gyfuno ieithwedd hen a newydd, llenyddol a llafar, brodorol ac estron. Trafodir y geiriau a gofnodwyd am y tro olaf yn ei waith, a’r nifer fawr a welir am y tro cyntaf, y benthyciadau o ieithoedd eraill, ei ddulliau o ffurfio geiriau cyfansawdd, a geirfa arbenigol amryw feysydd fel crefydd, y gyfraith, masnach a’r meddwl dynol. Roedd y bedwaredd ganrif ar ddeg yn gyfnod o newid mawr yn yr iaith Gymraeg yn sgil datblygiadau cymdeithasol a dylanwadau gan ieithoedd eraill, a manteisiodd Dafydd ar yr ansefydlogrwydd i greu amwysedd cyfrwys. Trwy sylwi’n fanwl ar y defnydd o eiriau gan Ddafydd a’i gyfoeswyr datgelir haenau newydd o ystyr sy’n cyfoethogi ein dealltwriaeth o waith un o feirdd mwyaf yr iaith Gymraeg.

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Amid the flames of the culture wars, politicians have taken up arms over controls on literary culture, spurred on in part by universities 'triggering' canonical texts. Jonathan Swift's 'Battle of the Books' has flared up again. But is 'triggering' utter wokery or responsible pedagogic practice? Through dozens of case studies of triggered works, from Romeo and Juliet to Gender Queer, John Sutherland explores the recent phenomenon of triggering and its consequences for university English departments and literature itself. He maintains that what is routinely overlooked in the heat of polemic is that triggering is categorically different from traditional institutional (religious, educational, dictatorial) controls on literature. Triggering is in essence an alert. Done responsibly it does not erase or meddle; it stimulates curiosity and thought. It honours the fact that great literature is great because it is, as Franz Kafka says, powerful. In this characteristically nuanced and calmly objective study, the witty literary critic guides us through the increasingly rocky terrain of triggering. His advice rings clear: literature matters, to us and what we make of our world, and it must be handled with critical care.

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Alone in a cube that's glowing in the darkness, X is content within its little universe of infinite thought. This solitude is disturbed by the appearance of Y, who insists on exposing X to the richness of the physical world. Each begins to long for what the other has, luring them into a strange loop.In this play for two variables, Marcus du Sautoy and Victoria Gould use mathematics and theatre to navigate the furthest reaches of our world. Through a series of surreal episodes, X and Y tackle some of life's greatest questions: where did the universe come from, does time have an end, do we have free will?I is a Strange Loop was first performed by the authors at the Barbican Pit, London, in March 2019.'I is a Strange Loop is a play that plays with ideas, concepts, abstractions and relationships that are, usually, hidden from the sight of ordinary mortals, articulating the ineffable, incarnating the incorporeal, revealing the inconceivable. It makes us feel we know a great deal more than we do. It is also very funny, utterly compelling and marvellously human.' Simon McBurney

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'Good writers offer advice. Great writers offer condolences' If you want to be a writer, then you'd better be ready to hurl yourself at the door. That's the message from Stephen Marche in this irresistibly droll broadside. Perseverance, in the teeth of rejection, forms the essence of a writer's life. It's what it takes, so no whining. Even the greatest of writers grapple with failure. Marche's provocative, often very funny vignettes range through literary history from Samuel Johnson ('broke as f*ck') to Jane Austen's lacklustre publishing deals, to Dostoevsky facing mock-execution. The trick is to endure. As James Baldwin famously exhorts us: 'Write. Find a way to keep alive and write.' For new and seasoned writers, Marche's words are salutary and, in a paradoxical way, consoling. All writers are up against it. Success is just an attire.

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"I'm so glad that a new edition is coming! A wonderful, inspirational and essential book for Christie-lovers." Lucy Worsley, author of Agatha Christie: A Very Elusive Woman (Hodder & Stoughton, 2022) ‘My dear home, my nest, my house’: these words from a 1958 song by Jules Bruyère, with which Agatha Christie opened her autobiography, sum up the importance of home to her. She also wrote: ‘What I liked playing with as a child I have liked playing with later in life. Houses for instance.’ She also lovingly included descriptions of houses (especially ‘her’ houses) in her books. Hilary Macaskill examines the houses that meant most to Agatha Christie, including her childhood home, Ashfield, in Torquay; Winterbrook in Oxfordshire, and, above all, Greenway, soaring above the River Dart and Agatha’s favourite home from 1938 to the end of her life in 1976 (though requisitioned in the Second World War by the Admiralty, and from 1943 to 1945 home also to the United States Coast Guard). The author also explores more temporary abodes, not only a succession of flats and houses in London (mainly in Kensington and Chelsea) but also the homes she set up at the digs in the Middle East that she travelled to with her archaeologist husband, Max Mallowan, and the hotels – notably the Moorland Hotel on Dartmoor, to which she adjourned in the grip of writer’s block to complete her first detective novel, The Mysterious Affair at Styles, and the Burgh Island Hotel, a major inspiration for And Then There Were None and Evil Under the Sun.

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The first English-language study of the Persian prison poem Develops a new approach to genre, based on the political status of the prison poem Offers an unprecedented account of the interrelations of poetry and power in pre-modern literature Sheds new light on Muslim Christian relations by documenting the multi-confessional orientation of many prison poems Relates the trajectory of the prison poem genre in pre-modern poetics to Iranian literary modernism, including the prison poems of Muhammad Taqi Bahar Through a series of insightful and sophisticated readings, this book reveals the worldliness of premodern Persian poetry. It traces the political role of poetry in shaping the prison poem genre (habsiyyat) across 12th-century Central, South and West Asia. The emergence of the genre is indebted to the increasing importance of the poet, who came into increasing conflict with Ghaznavid and Saljuq sovereigns as the genre developed. Uniting the polarities of perpetuity and contingency, the poet's body became the medium for the prison poem's oppositional poetics. Bringing theorists as wide ranging as Kantorowicz, Benjamin and Adorno into conversation with classical Persian poetics, this book offers an unprecedented account of prison poetry before modernity, and of premodern Persianate culture within the framework of world literature and global politics.

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Continuing on from his outstanding collection of literary criticism, My Strangled City and other essays, literary critic and Professor Gordon Rohlehr delves further, examining the work of Sam Selvon, Louise Bennett, Kamau Brathwaite, Derek Walcott and many other luminaries of the Caribbean. Originally published by Longman in 1992, this is a marvellous addition to the Caribbean Modern Classics series.

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For as long as humans have existed, they have asked: What if? Science fiction was a defining genre of the postwar era, and its current boom across books, film and TV shows no sign of slowing. Space ships, time travel, aliens and artificial intelligence continue to obsess us, and dreams of the apocalypse haunt our own post-pandemic age. But what is it that compels writers to imagine the future? Writing the Future gathers some of the best contemporary writers of science fiction, speculative fiction, dystopia and eco-fiction to explain their craft and explore the many worlds upon which our imaginations might land. Authors such as Toby Litt, Nina Allan, Adam Roberts and Una McCormack reveal how to balance scientific research with creative freedom, examine the different forms the written text might evolve into, and offer practical advice on giving life to your own vision of the future. Whether you're a reader, a seasoned writer looking to hone your skills, or a beginner who's just starting out, Writing the Future provides valuable insights into the craft of imagining the worlds of tomorrow.

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My Name is Tani: The Amazing True Story of One Boy’s Journey from Refugee to Chess Champion The story that is inspiring everyone! Soon to be a Paramount motion picture.Draw deep into the dramatic account of escape from terrorism.Tani Adewumi’s story begins amid Boko Haram’s reign of terror in Nigeria, but this doesn’t stop him from pursuing a most unlikely dream. At the age of eight, when Tani and his family’s lives are threatened, they are forced to flee for their lives and seek asylum. The odds were against Tani for ever finding a prosperous life in a foreign city, once enjoyed in his native Nigeria. But sometimes the unexpected is found in the most unlikely circumstances. As Tani’s family becomes a target for capture and killings, their miraculous escape takes them across an ocean to New York City. Tani’s father, who comes from a royal family and has left behind thirteen employees in Nigeria, becomes a dishwasher and an Uber driver to support his family. Tani’s mother, whose family helps to oversee the finances for a large Nigerian printing press, worked at a bank for more than eight years but is now training to become a home health aide.After eighteen months, the family is still at a shelter, unbeknownst to Tani’s classmates. One day Tani asks his parents if he can join the chess program. It seems unlikely since a fee is required. His mother writes to the coach, who offers Tani a scholarship. Tani jumps in to learn the game. The result is not only an unexpected twist of events in a chess competition but also the rescue of an entire family.In My Name is Tani, we witness the crossfire between miracle and mayhem. A young boy with only a dream in his heart recounts his harrowing escape from Boko Haram’s grips and changes his destiny in the process when he finds purpose in the most unlikely of places – a chess championship.In step with The Girl from Aleppo, and in the spirit of I am Malala, Tani’s story sheds light on living through terror. This story of community and hope recounts the lengths parents will go through to find safety for their family. It’s a story of what happens one you dare to dream.

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A full-size facsimile of one of the most complete early copies of the famed First Folio, selected and luxuriously produced by the British Library, is a must-have for actors, playwrights, and bibliophiles as well as anyone who truly loves the art of the English language.Published in association with the British Library on the 400th anniversary of the first publication of the First Folio, this handsome facsimile edition is the clearest and cleanest expression of an original from the library’s collection. The slipcased edition includes an six-page booklet with an introduction by the British Library’s lead curator who explain the history and enduring significance of the First Folio.First printed in 1623, the First Folio presents thirty-six of Shakespeare’s plays in one volume and is the only source for eighteen of his plays. Without it, works such as The Tempest, Twelfth Night and Macbeth would be lost. Also, the First Folio introduced the now familiar organization into comedies, histories, and tragedies. Of the 750 copies originally produced, only some 200 remain today.Interestingly, no two copies are identical and few surviving First Folios are complete. One work, Troilus and Cressida, appears in some copies but not others. Printing stopped and started due to finances, so corrections were made throughout the print run. Small changes were also made to Martin Droeshout’s (now iconic) Shakespeare portrait on the title page.

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A fascinating look into the myths that continue to shape our understanding and appreciation of Jane Austen. Was Jane Austen the best-selling novelist of her time? Are all her novels romances? Did they depict the traditional world of the aristocracy? Is Austen's writing easy to understand? Well into the 21st century, Jane Austen continues to be one of the most compelling novelists in all English literature. Many of her ideas about class, family, history, intimacy, manners, love, desire, and society, have inspired "myths" that are often contradictory — she was a Tory who was also a liberal feminist, or, her novels are at once sharply satirical and unapologetically romantic. Myths, like Austen's works, are dynamic, changing over time and impacting how we read and interpret literature. 30 Great Myths about Jane Austen examines the accepted beliefs — both true and untrue —that have most influenced our readings of Austen. Rather than simply de-bunking, or validating, commonly-held views about Austen, authors Claudia L. Johnson and Clara Tuite explore how these myths can be used to engage with the life, work, and reception of Jane Austen. Applying the most up-to-date scholarship to better understand how myths shape our appreciation of Jane Austen, this fascinating volume: Introduces readers to the history of Austen reception, both in academic scholarship and in the general public Examines Jane Austen’s life and letters, her historical contexts, her texts, and their afterlives Discusses Austen’s influence on the development of literary criticism as a discipline Explores each of Austen’s main novels, as well as relatively obscure texts such as Sanditon and The Watsons Offering engaging narrative and original insights, 30 Great Myths about Jane Austen is a must-read for scholars, instructors, and students of English and Romantic literature, as well as general readers with interest in the life and works of Jane Austen.

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'Inspiring' - Cathy Rentzenbrink, author of Write It All Down'Fascinating and useful' - Joe Moran, author of First You Write A SentenceBestselling and award-winning authors share the secrets to their success, and the hard lessons they have learnt along the way.Where do the best ideas come from? How do you stay motivated? What does it take to become a published author? And how do you actually make money from your writing? For over five years the hosts of Always Take Notes podcast have posed their nosiest questions to some of the world's greatest writers. The result is a compendium of frank and frequently entertaining guidance for living a creative life. From the early failures that shaped them to the daily challenges of writing and the habits that keep them on track, literary luminaries offer guidance to inspire.Featuring:Alexander McCall Smith, Anne Enright, Candice Carty-Williams, Christina Lamb, Colin Thubron, Colum McCann, David Mitchell, Elif Shafak, George Packer, Hadley Freeman, Hollie McNish, Ian McEwan, Ian Rankin, Irvine Welsh, Jeffrey Archer, Joanne Harris, Kate Mosse, Kiran Millwood Hargrave, Kit de Waal, Louise Doughty, Lucy Hughes-Hallett, Maggie Fergusson, Mark Haddon, Marlon James, Max Hastings, May Jeong, Merve Emre, Monica Ali, Niall Ferguson, Nikesh Shukla, Oliver Bullough, Orlando Figes, Patrick Kingsley, Rory Stewart, Rosie Nixon, Ruth Ozeki, Ruth Padel, Sam Knight, Samanth Subramanian, Samira Shackle, Sara Baume, Sebastian Junger, Simon Lancaster, Simon Scarrow, Stig Abell, Terri White, Tessa Hadley, Tim Rice, Toby Young, Tracy Chevalier, William Boyd, William Dalrymple, and many more...

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In this cutting-edge study of Tolkien's most critically neglected maps, Anahit Behrooz examines how cartography has traditionally been bound up in facilitating power. Far more than just illustrations to aid understanding of the story, Tolkien's corpus of maps are crucial to understanding the broader narratives between humans and their political and environmental landscapes within his legendarium. Undertaking a diegetic literary analysis of the maps as examples of Middle-earth's own cultural output, Behrooz reveals a sub-created tradition of cartography that articulates specific power dynamics between mapmaker, map reader, and what is being mapped, as well as the human/nonhuman binary that represents human's control over the natural world.Mapping Middle-earth surveys how Tolkien frames cartography as an inherently political act that embodies a desire for control of that which it maps. In turn, it analyses harmful contemporary engagements with land that intersect with, but

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Recognised on its first appearance as the most comprehensive single-volume guide to The Canterbury Tales yet produced, this third edition brings the Tales up to date in relation both to recent criticism and to the changing expectations of modern readers. The Guide provide tale-by-tale information on textual variations and sources, together with a readable commentary on thematic issues, structure, style, generic affiliations, and the contribution of each tale to the work as a whole. It concludes with a survey of the many imitations of the tales down to the early seventeenth century. This new edition also takes account of the latest scholarship, theory, and criticism and new interpretations of the tales, including such matters as gender identity, consent, and racial and religious difference. The book is the most comprehensive single-volume guide to the Tales yet produced, bringing together a wide range of disparate material and providing a readable commentary on all aspects of the work. It combines the comprehensive coverage of a reference book with the clarity and coherence of a critical account. Since its first publication in 1989, the Guide has established itself as an indispensable aid for any reader looking to develop their understanding of The Canterbury Tales.

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The Visionary Queen affirms Marguerite de Navarre’s status not only as a political figure, author, or proponent of nonschismatic reform but also as a visionary. In her life and writings, the queen of Navarre dissected the injustices that her society and its institutions perpetuated against women. We also see evidence that she used her literary texts, especially the Heptaméron, as an exploratory space in which to generate a creative vision for institutional reform. The Heptaméron’s approach to reform emerges from statistical analysis of the text’s seventy-two tales, which reveals new insights into trends within the work, including the different categories of wrongdoing by male, institutional representatives from the Church and aristocracy, as well as the varying responses to injustice that characters in the tales employ as they pursue reform. Throughout its chapters, The Visionary Queen foregrounds the trope of the labyrinth, a potent symbol in early modern Europe that encapsulated both the fallen world and redemption, two themes that underlie Marguerite's project of reform.

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The Cambridge Guide to OET Nursing is a definitive pathway to test-day success from a team of highly experienced writers, experts in language teaching and OET. Valuable practice in all four language skills required for the test! Backed by strong pedagogy and a hands-on approach to language learning, with content approved by OET, the book is your guide to success. The book includes a detailed introduction to OET with test overview as well as two complete practice tests. There is extensive task-based learning and practice for each part of the test as well as ''Tips for scoring'' in all the sub-tests. Preparatory tasks offer bite-sized learning. Audio, transcripts and answers are available online via a code in the cover, and a Teacher''s Book for class use.

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Wild Visionary reconsiders Maurice Sendak's life and work in the context of his experience as a Jewish gay man. Maurice (Moishe) Bernard Sendak (1928–2012) was a fierce, romantic, and shockingly funny truth seeker who intervened in modern literature and culture. Raising the stakes of children's books, Sendak painted childhood with the dark realism and wild imagination of his own sensitive "inner child," drawing on the queer and Yiddish sensibilities that shaped his singular voice. Interweaving literary biography and cultural history, Golan Y. Moskowitz follows Sendak from his parents' Brooklyn home to spaces of creative growth and artistic vision—from neighborhood movie palaces to Hell's Kitchen, Greenwich Village, Fire Island, and the Connecticut country home he shared with Eugene Glynn, his partner of more than fifty years. Further, he analyzes Sendak's investment in the figure of the endangered child in symbolic relation to collective touchstones that impacted the artist's perspective—the Great Depression, the Holocaust, and the AIDS crisis. Through a deep exploration of Sendak's picture books, interviews, and previously unstudied personal correspondence, Wild Visionary offers a sensitive portrait of the most beloved and enchanting picture-book artist of our time.

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By subverting comedy's rules and expectations, African American satire promotes social justice by connecting laughter with ethical beliefs in a revolutionary way. Danielle Fuentes Morgan ventures from Suzan-Lori Parks to Leslie Jones and Dave Chappelle to Get Out and Atlanta to examine the satirical treatment of race and racialization across today's African American culture. Morgan analyzes how African American artists highlight the ways that society racializes people and bolsters the powerful myth that we live in a "post-racial" nation. The latter in particular inspires artists to take aim at the idea racism no longer exists or the laughable notion of Americans "not seeing" racism or race. Their critique changes our understanding of the boundaries between staged performance and lived experience and create ways to better articulate Black selfhood. Adventurous and perceptive, Laughing to Keep from Dying reveals how African American satirists unmask the illusions and anxieties surrounding race in the twenty-first century.

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An account of criticism as an urgent response to what moves us. Criticism begins when we put down a book to tell someone about it. It is what we do when we face a work or event that bowls us over and makes us scramble for a response. As Michel Chaouli argues, criticism involves three moments: Something speaks to me. I must tell you about it. But I don’t know how. The heart of criticism, no matter its form, lies in these surges of thoughts and feelings. Criticism arises from the fundamental need to share what overwhelms us. We tend to associate criticism with scholarship and journalism. But Chaouli is not describing professional criticism, but what he calls “poetic criticism”—a staging ground for surprise, dread, delight, comprehension, and incomprehension. Written in the mode of a philosophical essay, Something Speaks to Me draws on a wide range of writers, artists, and thinkers, from Kant and Schlegel to Merleau-Ponty, Bachelard, Barthes, and Cavell. Reflecting on these dimensions of poetic experience, Something Speaks to Me is less concerned with joining academic debates than communicating the urgency of criticism.

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When is seduction about more than just sex? In this brilliantly original history, Clement Knox explores these questions as well as the philosophy, legality, politics, art and literature of a force that underwrites our world. In the first history of its kind, Clement Knox reassesses our idea of seduction in a narrative that moves from Casanova’s pursuit of pleasure, to America’s racialised seduction laws, to the Nazi propaganda designed to stoke sexual panic, and up to #MeToo. Modern, big-thinking and enormously entertaining, Knox offers an extraordinary range of stories to chart the many guises of seduction, showing that our ideas about desire, courtship, and power have always developed in step with a changing world.

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Arden Performance Editions are ideal for anyone engaging with a Shakespeare play in performance. With clear facing-page notes giving definitions of words, easily accessible information about key textual variants, lineation, metrical ambiguities and pronunciation, each edition has been developed to open the play’s possibilities and meanings to actors and students. Each edition offers: -Facing-page notes -Short, clear definitions of words -Easily accessible information about key textual variants -Notes on pronunciation of difficult names and unfamiliar words -An easy-to-read layout -Space to write notes -A short introduction to the play

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In Graphic Migrations, Kavita Daiya provides a literary and cultural archive of refugee stories and experiences to respond to the question “What is created?” after decolonization and the 1947 Partition of India. She explores how stories of Partition migrations shape and influence the political and cultural imagination of secularism and contribute to gendered citizenship for South Asians in India and its diasporas.Daiya analyzes modern literature, Bollywood films, Margaret Bourke-White’s photography, advertising, and print culture to show how they memorialize or erase refugee experiences. She also uses oral testimonies of Partition refugees from Hong Kong, South Asia, and North America to draw out the tensions of the nation-state, ethnic discrimination, and religious difference. Employing both Critical Refugee Studies and Feminist Postcolonial Studies frameworks, Daiya traces the cultural, affective, and political legacies of Partition migrations. The precarity generated by modern migration and expressed through public culture prompts a rethinking of how dominant media represents gendered migrants and refugees. Graphic Migrations demands that we redraw the boundaries of how we tell the story of modern world history and the intricately interwoven, intimate production of statelessness and citizenship across the world’s communities.

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In Black Aliveness, or A Poetics of Being, Kevin Quashie imagines a Black world in which one encounters Black being as it is rather than only as it exists in the shadow of anti-Black violence. As such, he makes a case for Black aliveness even in the face of the persistence of death in Black life and Black study. Centrally, Quashie theorizes aliveness through the aesthetics of poetry, reading poetic inhabitance in Black feminist literary texts by Lucille Clifton, Audre Lorde, June Jordan, Toni Morrison, and Evie Shockley, among others, showing how their philosophical and creative thinking constitutes worldmaking. This worldmaking conceptualizes Blackness as capacious, relational beyond the normative terms of recognition—Blackness as a condition of oneness. Reading for poetic aliveness, then, becomes a means of exploring Black being rather than nonbeing and animates the ethical question “how to be.” In this way, Quashie offers a Black feminist philosophy of being, which is nothing less than a philosophy of the becoming of the Black world.

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In Death and Disorder, award-winning teacher Ken MacMillan introduces readers to the tumultuous world of Tudor and Stuart England. During this period, numerous kings and queens were killed, their advisors assassinated, treasonous nobles beheaded, religious heretics burned at the stake, and common criminals executed by hanging. Combined with devastating plagues, a high rate of infant mortality, and violence on the battlefield, these events created an environment of disorder. MacMillan argues that both despite and because of the prevalence of death and disorder in early modern England, these two centuries saw critical historical developments. Each chapter opens with a thematic vignette, closes with an excerpt from a primary source, and includes images and engaging discussion questions. The book also provides a timeline of key events, genealogical charts, and a list of further resources.

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These canons (or rules) for church organization and life and Christian morals issued at a council held in Constantinople in 691/2 form the foundation of Byzantine Canon Law. They show an intense concern to restore the proper discipline of clerical life after the chaos brought about by the Arab invasions. The rules for the laity show a concern to secure obedience to the Church’s rules about marriage, proper respect for sacred space, and the suppression of customs of pagan origin. Particular interest attaches to the canons that express disapproval of certain customs of the Western Church and of the Armenian Church. Was this an attempt to impose Byzantine hegemony, or simply a revulsion at customs that seemed wrong? The Byzantine emperor tried repeatedly to get the Pope to give the new canons the stamp of his approval; his failure marks an important stage in the mounting divergence between the Greek and the Roman Churches. The translation is accompanied by full annotation, while the introduction sets the council in its historical context, in both the history of the early medieval world and the development of Eastern Canon Law.

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This is an edited and resized version of So Here I Am: Speeches by great women to empower and inspire.Discover the inspiring voices that have changed our world, and started a new conversation.Great Women’s Speeches is essential reading for pioneering women everywhere. From Emmeline Pankhurst’s ‘Freedom or Death’ speech and Marie Curie’s trailblazing Nobel lecture, to Michelle Obama speaking on parenthood in politics and Black Lives Matter co-founder Alicia Garza’s stirring ode to black women, the words collected here are empowering, engaging and entirely unapologetic. With powerful illustrations from Camila Pinheiro, Anna Russell’s rousing anthology is dedicated to anyone who dares to ask for more.The women: Elizabeth I; Fanny Wright; Maria Stewart; Angelina Grimké; Sojourner Truth; Victoria Woodhull; Sarah Winnemucca; Elizabeth Cady Stanton; Mary Church Terrell; Ida B. Wells; Countess Markievicz; Marie Curie; Emmeline Pankhurst; Nellie McClung; Jutta Bojsen-Møller; Emma Goldman; Nancy Astor; Margaret Sanger; Virginia Woolf; Huda Sha'arawi; Funmilayo Ransome-Kuti; Eva Perón; Helen Keller; Eleanor Roosevelt; Shirley Chisholm; Ruth Bader Ginsburg; Sylvia Rivera; Simone Veil; Indira Gandhi; Margaret Thatcher; Ursula K. Le Guin; Barbara McClintock; Corazon C. Aquino; Naomi Wolf; Severn Cullis-Suzuki; Wilma Mankiller; Toni Morrison; Hillary Clinton; Wangari Maathai; J.K. Rowling; Angela Merkel; Sheryl Sandberg; Ellen Johnson Sirleaf; Asmaa Mahfouz; Manal al-Sharif; Julia Gillard; Malala Yousafzai; Emma Watson; Jane Goodall; Michelle Obama; Gloria Steinem; Beatrice Fihn; Alicia Garza; Maya Lin.

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In 1935 Rose Macaulay (1881-1958) was a well-established novelist, reviewer, columnist and feminist wit. She was part of the 'intellectual aristocracy' of England, but was also passionately interested in everyday life and its foolishnesses. Personal Pleasures is an anthology of 80 short essays (some of them very short) about the things she enjoyed most in life. Her subjects include: Bed (Getting Into It) Booksellers Catalogues Christmas Morning Driving a Car Flattery Heresies Not Going to Parties Shopping Abroad Writing While each essay can be read on its own as a short dose of delicious writing, the collection is also an autobiographical selection, revealing glimpses of Rose's own life, and making us laugh helplessly with her inimitable humour.

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The diary as a genre is found in all literate societies, and these autobiographical accounts are written by persons of all ranks and positions. The Diary offers an exploration of the form in its social, historical, and cultural-literary contexts with its own distinctive features, poetics, and rhetoric. The contributors to this volume examine theories and interpretations relating to writing and studying diaries; the formation of diary canons in the United Kingdom, France, United States, and Brazil; and the ways in which handwritten diaries are transformed through processes of publication and digitization. The authors also explore different diary formats, including the travel diary, the private diary, conflict diaries written during periods of crisis, and the diaries of the digital era, such as blogs. The Diary offers a comprehensive overview of the genre, synthesizing decades of interdisciplinary study to enrich our understanding of, research about, and engagement with the diary as literary form and historical documentation.

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A Byron biography like no other published to mark the bicentennial of his death it tells the remarkable life story of the celebrated Romantic poet through ten of his best, most resonant letters. Using Byron's correspondence, Stauffer relates a vivid and engaging story of creativity, fame, sexual transgression and scandal.

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From pet keeping to sky burials, a posthuman and ecocritical interrogation of and challenge to human particularity in medieval texts Mainstream medieval thought, like much of mainstream modern thought, habitually argued that because humans alone had language, reason, and immortal souls, all other life was simply theirs for the taking. But outside this scholarly consensus teemed a host of other ways to imagine the shared worlds of humans and nonhumans. How Not to Make a Human engages with these nonsystematic practices and thought to challenge both human particularity and the notion that agency, free will, and rationality are the defining characteristics of being human.Recuperating the Middle Ages as a lost opportunity for decentering humanity, Karl Steel provides a posthuman and ecocritical interrogation of a wide range of medieval texts. Exploring such diverse topics as medieval pet keeping, stories of feral and isolated children, the ecological implications of funeral practices, and the “bare life” of oysters from a variety of disanthropic perspectives, Steel furnishes contemporary posthumanists with overlooked cultural models to challenge human and other supremacies at their roots. By collecting beliefs and practices outside the mainstream of medieval thought, How Not to Make a Human connects contemporary concerns with ecology, animal life, and rethinkings of what it means to be human to uncanny materials that emphasize matters of death, violence, edibility, and vulnerability.

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Humanitarian lessons and practical insights from the prophet of Islam The words of Muhammad, messenger of God and prophet of Islam, have a special place in the hearts of his followers. Wielding an authority second only to the Qur'an, they are cited by scholars in a vast array of disciplines—including law, theology, metaphysics, poetry, grammar, history, and medicine—and are quoted by Muslims to one another in their daily lives. Light in the Heavens by al-Qadi al-Quda'i, a Sunni judge in the Fatimid court in Egypt, is an outstanding example of a compilation of these sayings, known as hadiths, that circulated orally and were later assembled and written down. From North Africa to India, generations have used Light in the Heavens as a teaching text for children as well as adults, and many of its 1,200 sayings are familiar to individuals of diverse denominations and ethnicities. For Muslims—who consider Muhammad’s teachings the fount of wisdom and the beacon of guidance in all things, mundane and sublime—these sayings provide a direct window into the inspired vision of one of the most influential humans to have walked the Earth. An English-only edition.

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Russia, late summer at the close of the nineteenth century. Vanya and his niece Sonya have worked for years to manage the country estate. Into this ordered and regular household come two new visitors, Sonya's father, an irritable professor, and his young wife Elena who, in the space of a few months, cause chaos, one by their selfishness, and the other by their sexual allure. Between them, they manage to have most of the inhabitants questioning their purpose in life, their happiness and, at times, their sanity.David Hare's version of Anton Chekhov's Uncle Vanya opens at Theatre Royal Bath in July 2019.

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