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1995 marks the 400th anniversary of the probable first production of Shakespeare's Romeo and Juliet and A Midsummer Night's Dream. Though the similarities between these two plays have long been recognized, surprisingly little has been written on what they have in common. As Mark Stavig points out, not only do these plays share a self-consciously poetic approach to drama and a common topic -- the troubles of young lovers living in a hostile familial and societal context -- but they also share a framework of Renaissance metaphor built on gender oppositions and unities. In the primarily public and rational world of late sixteenth century England, interest in the more poetic and subjective dimensions of human experience was growing. Elizabethan writers, including Shakespeare, were searching for ways to communicate what Theseus somewhat skeptically calls the forms of things unknown' -- that realm of experience that can be expressed best (or perhaps only) through the language of metaphor. While recent Shakespeare criticism has tended to oversimplify Shakespeare's handling of gender by seeing him either as a supporter or an opponent of patricarchy, Stavig finds a more complex conception of gender in Shakespeare's psychology of love and in his depiction of society, nature and the cosmos. To appreciate these patterns of metaphor, we must understand the Petrarchism and neo-Platonism that were undergoing a resurgence in the 1590s. What emerges in Stavig's exploration is neither a scientific system nor a set of beliefs, but rather a flexible structure of metaphors that provides the context for a fresh and rewarding approach to these plays.
This is a new release of the original 1960 edition.
The Forms of Things Unknown: Teaching Poetry Writing to Teens and Adults draws from Shelley Savren’s forty years of teaching poetry writing to a diverse array of students, from teens with mental health issues to seniors to adults with developmental disabilities. Designed for use in a classroom or community setting, this book features forty-one lesson plans and nineteen more poetry-writing workshop ideas and provides guidance and inspiration for teaching poetry writing to teens and adults.
Natalie Roman isn’t much for the spotlight. But performing A Midsummer Night’s Dream in a stately old theatre in Savannah, Georgia, beats sitting alone replaying mistakes made in Athens. Fairy queens and magic on stage, maybe a few scary stories backstage. And no one in the cast knows her backstory. Except for Lucas—he was in the psych ward, too. He won’t even meet her eye. But Nat doesn’t need him. She’s making friends with girls, girls who like horror movies and Ouija boards, who can hide their liquor in Coke bottles and laugh at the theater’s ghosts. Natalie can keep up. She can adapt. And if she skips her meds once or twice so they don’t interfere with her partying, it won’t be a problem. She just needs to keep her wits about her. Honest, nuanced, and bittersweet, The Form of Things Unknown explores the shadows that haunt even the truest hearts . . . and the sparks that set them free.
This collection of short-short stories visits many different places and times and the stories fall into many different genres; the unifying factor, as the title indicates, is things, situations or characters that aren't quite what they seem. Sometimes that's relatively benign, though more often it isn't. And in some cases, it's the story itself which isn't quite what it seems. There are several tales in which I and/or friends of mine appear in disguised, fictionalized forms, and two in which I overtly appear as a character; there are even a few places in which the boundaries between fiction and nonfiction, between story and introduction, and even between the confines of the book and the world outside of its pages are deliberately blurred. And when form and substance, fantasy and reality, creator and created are so fluid, anything can happen; I can't even guarantee that you, my readers, will remain firmly outside of the magic I've woven. After all, when real people can become characters and characters can emerge from the page to interact with their creator, how can the reader be sure to remain unaffected? I hope that effect is limited to provoking your imagination and perhaps giving you a nightmare or two, but I'm not promising anything. Don't say you weren't warned.
The safety case and its associated reports are becoming a mechanism for achieving safety goals, a valuable decision-support asset and a vital industrial liability management tool. This book provides a concentrated source document for assessing and constructing safety cases and safety case reports - from understanding their purposes, through their development and on to their presentation.
In 1980s Britain, while the country failed to reckon with the legacies of its empire, a black, transnational sensibility was emerging in its urban areas. In Handsworth, an inner-city neighborhood of Birmingham, black residents looked across the Atlantictoward African and Afro-Caribbean social and political cultures and drew upon them while navigating the inequalities of their locale. For those of the Windrush generation and their British-born children, this diasporic inheritance became a core influence on cultural and political life. Through rich case studies, including photographic representations of the neighborhood, Black Handsworth takes readers inside pubs, churches, political organizations, domestic spaces, and social clubs to shed light on the experiences and everyday lives of black residents during this time. The result is a compelling and sophisticated study of black globality in the making of post-colonial Britain.
Herbert Read (1893–1968) acquired in his lifetime a considerable international reputation in all the major areas of his diverse activities: as poet, as educationalist, as anarchist, as philosopher (of aesthetics), as art critic, as historian of, and above all, as propagandist for modern art and design. The papers assembled in Herbert Read Reassessed offer a comprehensive and authoritative coverage of Read’s life work that is designed to stimulate debate. "An impressive volume... it manages to present a unified but not totalizing portrait of one of England’s most distinguished twentieth-century critics."—English Historical Review
Includes music.

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