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Miguel de Cervantes’s experimentation with theatricality is frequently tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes’s prose and analyses the ways in which he uses theatricality in his own literary production. Bringing together the works of well-known scholars, who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook’s notion of the bare or empty stage, Esther Fernández and Adrienne L. Martín argue that Cervantes’s omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which Cervantes forces his readers to engage with themes that are central to his life and works, including love, freedom, truth, confinement, and otherness.
Drawing the Curtain examines the ways in which Miguel de Cervantes experiments with theatre and exploits theatricality in his diverse literary creations.
A stranger lures a child into his car with the promise of sweets. A young man spots his fiancée’s double in a public park of ill repute. An executive visits the secluded home of a former employee whose intentions are frightfully unclear. A modest soul weds the woman he rescues from suicide—only to fall victim to an unfathomable form of possessiveness... In the eleven tales gathered in The Fallen Curtain, Ruth Rendell—the grande dame of the literary mystery—lays bare the twisted inner workings of the unbalanced mind. Here are eleven tales of haunting psychological accuracy: the gesture that betrays a parent's madness, the childhood memory clouded with denial, the utterance that introduces the threat of violence in a situation as benign as a dinner date. Instantly engaging, maddeningly addictive, The Fallen Curtain testifies to the enduring talents of a master of the genre.
Intermingling architectural, cultural, and religious history, Louis Nelson reads Anglican architecture and decorative arts as documents of eighteenth-century religious practice and belief. In The Beauty of Holiness, he tells the story of the Church of England in colonial South Carolina, revealing how the colony's Anglicans negotiated the tensions between the persistence of seventeenth-century religious practice and the rising tide of Enlightenment thought and sentimentality. Nelson begins with a careful examination of the buildings, grave markers, and communion silver fashioned and used by early Anglicans. Turning to the religious functions of local churches, he uses these objects and artifacts to explore Anglican belief and practice in South Carolina. Chapters focus on the role of the senses in religious understanding, the practice of the sacraments, and the place of beauty, regularity, and order in eighteenth-century Anglicanism. The final section of the book considers the ways church architecture and material culture reinforced social and political hierarchies. Richly illustrated with more than 250 architectural images and photographs of religious objects, The Beauty of Holiness depends on exhaustive fieldwork to track changes in historical architecture. Nelson imaginatively reconstructs the history of the Church of England in colonial South Carolina and its role in public life, from its early years of ambivalent standing within the colony through the second wave of Anglicanism beginning in the early 1750s.