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As seen on the cover of New York Magazine, America's longest running advice columnist goes on the road to speak to women about hideous men and whether we need them. "Carroll's lively prose careens in constant pursuit of pleasure...indefatigably funny and full of life." –Lindsay Zoladz, The Ringer “Darkly humorous and deadly serious.” –Sibbie O'Sullivan, Washington Post “A compulsively interesting feminist memoir.” –Virginia Heffernan, Slate "Somehow hilarious, in the way that only E. Jean could have written it" –Leigh Haber, Oprah Magazine “Roving, curious, compassionate, whimsical.” –Megan Garber, The Atlantic When E. Jean Carroll—possibly the liveliest woman in the world and author of the “Ask E. Jean” advice column in Elle Magazine, realized that her eight million readers and question-writers all seemed to have one thing in common—problems caused by men—she hit the road. Crisscrossing the country with her blue-haired poodle, Lewis Carroll, E. Jean stopped in every town named after a woman between Eden, Vermont and Tallulah, Louisiana to ask women the crucial question: What Do We Need Men For? E. Jean gave her rollicking road trip a sly, stylish turn when she deepened the story, creating a list called “The Most Hideous Men of My Life,” and began to reflect on her own sometimes very dark history with the opposite sex. What advice would she have given to her past selves—as Miss Cheerleader USA and Miss Indiana University? Or as the fearless journalist, television host, and eventual advice columnist she became? E. Jean intertwines the stories of the fascinating people she meets on her road trip with her “horrible history with the male sex” (including mafia bosses, media titans, boyfriends, husbands, a serial killer, and a president), creating a decidedly dark yet hopeful, hilarious, and thrilling narrative. Her answer to the question What Do We Need Men For? will shock men and delight women.
Erika Fischer-Lichte's introduction to the discipline of Theatre and Performance Studies is a strikingly authoritative and wide ranging guide to the study of theatre in all of its forms. Its three-part structure moves from the first steps in starting to think about performance, through to the diverse and interrelated concerns required of higher-level study: Part 1 – Central Concepts for Theatre and Performance Research – introduces the language and key ideas that are used to discuss and think about theatre: concepts of performance; the emergence of meaning; and the theatrical event as an experience shared by actors and spectators. Part 1 contextualizes these concepts by tracing the history of Theatre and Performance Studies as a discipline. Part 2 – Fields, Theories and Methods – looks at how to analyse a performance and how to conduct theatre-historiographical research. This section is concerned with the 'doing' of Theatre and Performance Studies: establishing and understanding different methodological approaches; using sources effectively; and building theoretical frameworks. Part 3 – Pushing Boundaries – expands on the lessons of Parts 1 and 2 in order to engage with theatre and performance in a global context. Part 3 introduces the concept of 'interweaving performance cultures'; explores the interrelation of theatre with the other arts; and develops a transformative aesthetics of performance. Case studies throughout the book root its theoretical discussion in theatrical practice. Focused accounts of plays, practitioners and performances map the development of Theatre and Performance Studies as an academic discipline, and of the theatre itself as an art form. This is the most comprehensive and sophisticated introduction to the field available, written by one of its foremost scholars.
It is said that school leavers in Indonesia are not able to speak English confidently. They have no courage to speak, even though they actually feel that they have something to say in their mind. They are afraid to make mistakes when speaking because they never feel happy with their English grammar and vocabulary at school. English for Everyday Speaking is directed at those who have learned English and have no courage to speak but want to practice their spoken English. This book is not only suitably used by high school students, university students, language centers, English course learners and English speaking club members as a main course book for speaking, but also for employees, workers, staff, teachers, employers or members of a family as a core handbook for language practice during their leisure time. This book covers very common daily topics which everyone is familiar with, such as Daily Activities, Personal Information, Family Life, Culture, Sport, Housemaids, Hobbies and Interests, Smoking and Drinking, Music, Health, Education, School Life, Love, Holiday, Food and Drink, Marriage, Sex, Demonstrations & Strikes, Terrorism, Crime and Prisons, Debates, etc. The questions, which are intended to arouse learners to speak, are generally simple to answer for ordinary learners. They need practical ideas or knowledge but do not need deep academic or scientific knowledge to answer them. However, if the group of learners have more advanced knowledge about the topics and are interested to delve deeper on the topics, there are also some possibilities to do so. English for Everyday Speaking is designed by an experienced English teacher. In addition, these materials have been tried out at STP Bandung, STBA, Maranatha University, the Center at Jl. Setiabudhi, Bandung and some other language centers.
Volume for 1947 includes "A list of clandestine periodicals of World War II, by Adrienne Florence Muzzy."
Annotation. A multidisciplinary reference of English-language publications on Indonesia. Annotated entries emphasize colonial history, the struggle for independence, the arts, and anthropology. Includes subject and title indexes. Annotation copyright by Book News, Inc., Portland, OR.
This book focuses on the relationship between the Egyptian village as a discursive construct and the novel genre as it emerged and developed in Egypt from the first decades of the century until its end.