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“The collection you hold in your hands is otherworldly, it is elegant, it is delicate. It is graceful, it is exquisite and ethereal. It is full of flowers and fairies and a piercing, thorny longing.” —from the introduction by Catherynne M. Valente A Mythopoeic Award finalist Songs for Ophelia gathers together eighty of Theodora Goss's otherworldly poems which lead the reader, as though under a spell, through the unfolding of the seasons and into the realm of pure magic. "Willows, dancing maidens, gypsies, mothers, lovers, daughters, magic animals, living waters, and transformations of all kinds abound in these gorgeous poems. With her formal prosody, her fairytale subjects, and her insights on love and loss and longing, Goss manages, Janus-like, to look back to the Victorians and inward at the heart of a modern woman with intelligence and grace." —Delia Sherman Cover art by Virginia Lee
"Previously published in the anthology Performed the here and now: an introduction to contemporary theater and performance edited by Chris Danowski ... and also in the independent literary journal CallReview (issue #2, 2004)"--T.p. verso.
This collection of new essays is the first to explore the rich afterlife of one of Shakespeare's most recognizable characters. With contributions from an international group of established and emerging scholars, The Afterlife of Ophelia moves beyond the confines of existing scholarship and forges new lines of inquiry beyond Shakespeare studies.
Kimberly Rhodes's interdisciplinary book is the first to explore fully the complicated representational history of Shakespeare's Ophelia during the Victorian period. In nineteenth-century Britain, the shape, function and representation of women's bodies were typically regulated and interpreted by public and private institutions, while emblematic fictional female figures like Ophelia functioned as idealized templates of Victorian womanhood. Rhodes examines the widely disseminated representations of Ophelia, from works by visual artists and writers, to interpretations of her character in contemporary productions of Hamlet, revealing her as a nexus of the struggle for the female body's subjugation. By considering a broad range of materials, including works by Anna Lea Merritt, Elizabeth Siddal, Dante Gabriel Rossetti, and John Everett Millais, and paying special attention to images women produced, Rhodes illuminates Ophelia as a figure whose importance crossed class and national boundaries. Her analysis yields fascinating insights into 'high' and mass culture and enables transnational comparisons that reveal the compelling associations among Ophelia, gender roles, body image and national identity.
This book presents a unique annotated collection of some 2000 playground games, rhymes, and wordplay of London children. It charts continuity and development in childlore at a time of major social and cultural change and offers a detailed snapshot of changes in the traditions and language of young people. Topics include: starting a game; counting-out rhymes; games (without songs); singing and chanting games; clapping, skipping, and ball bouncing games; school rhymes and parodies; teasing and taunting; traditional belief and practice; traditional wordplay; and a concluding miscellany. Recorded mainly in the 1980s by primary schoolteacher Nigel Kelsey, transcribed verbatim from the children’s own words, and accompanied by extensive commentaries and annotation, the book sets a wealth of new information in the wider historical and contemporary context of existing studies in Britain, Ireland, and other parts of the English-speaking world. This valuable new resource will open new avenues for research and be of particular interest to folklorists and linguists, as well as to those working across the full spectrum of social, cultural, and educational studies.
First published in 2011. Johannes Brahms: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer. The second edition will include research published since the publication of the first edition and provide electronic resources.
After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have them, are not complete. They are missing the music that could have accompanied the plays’ songs. Significantly, Renaissance vocal music, far beyond just providing entertainment, was believed to alter the bodies and souls of both performers and auditors to agree with its characteristics, directly inciting passions from love to melancholy. By collaborating with early modern music editor and performing artist Lawrence Lipnik, Catherine Henze is able to provide new performance editions of seventeen songs, including spoken interruptions and cuts and rearrangement of the music to accommodate the dramatist's words. Next, Henze analyzes the complete songs, words and music, according to Renaissance literary and music primary sources, and applies the new information to interpretations of characters and scenes, frequently challenging commonly held literary assessments. The book is organized according to Armin's involvement with the plays, before, during, and after the comic actor joined Shakespeare's company. It offers readers the tools to interpret not only these songs, but also vocal music in dramas by other Renaissance playwrights. Moreover, Robert Armin and Shakespeare's Performed Songs, written with non-specialized terminology, provides a gateway to new areas of research and interpretation in an increasingly significant interdisciplinary field for all interested in Shakespeare and early modern drama.
Updated and expanded second edition of this Award Nominated book (nominated for the 2014 ARSC Award for Excellence in Historical Recorded Sound Research). Strictly limited edition of 50 copies in green jacket design. B&C started life as a distribution company, which was set up as a sister company to Island. Island's early success led B&C's owner, Lee Gopthal, to start releasing records in his own right. However, B&C's main strategy was based on licensing records rather than signing artists in its own right and many of B&C's labels concentrated on singles and budget compilation albums - strategies that set the seeds of the company's own destruction. The end, when it came in 1975 was probably inevitable. Still, whilst B&C was about, some very good music got released, almost despite itself on occasion. This book includes comprehensive discographies covering the Action, Stable, B&C, Charisma, Pegasus, Peg, People, Mooncrest, Dragon, Sussex and Seven Sun labels.