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This is the Large Print edition of The Sonnets by William Shakespeare, published by Golding Books as part of its Essential Series. It features an introduction by Nicholas Tamblyn and illustrations by Katherine Eglund. Golding Books' Essential Series, along with its Great Books Series, comprises a wide variety of classic, influential and important books. These two series aim to champion not only remarkable and recognized literary achievements, but also to highlight the meaningful and significant works of lesser-known authors. Get your copy of the titles through convenient online purchase as an eBook or in paperback. By becoming a monument in the past few centuries, William Shakespeare has been ruined for many children and adults alike. Monuments belie the freshness and passion of their original creation. Shakespeare was not immune to common human suffering and harmful desires. Even within the confines of poetic rhyme and the motives he may have had in addressing individuals (or the more lasting audience that he often alludes to), he used the sonnets to both reveal and explore powerful feelings, and ultimately to examine the ways that one may become, while inevitably flawed in some if not most of the areas of our sometimes unscrupulous and often challenging lives, a better person. Shakespeare's Sonnets, like his plays, lead many readers to Bardolatry. Classics among early English poetry and (more modern) romantic poetry, lines found there (like his plays) mark them out as famous poems that are widely known, but some of the most touching, beautiful, or memorable sonnets are likely never to have reached the eyes or ears of most people. Many will agree with Wordsworth's famous line (in his sonnet on the sonnet) that "with this same key Shakespeare unlocked his heart." As outlined in the introduction, the sonnet sequence begins with seventeen that urge a "right fair" youth to reproduce his beauty, and the remaining sonnets until 126 continue to be addressed to this "thou" and "you"; the sonnets after 127 are focussed on the "dark lady," excluding the last two, which are different in tone and are related to Cupid. Sonnet 126 contains only twelve lines rather than fourteen, and so in a sense acts as a deliberate or incidental turning point between the two sections. Several sonnets touching on mortality appear in the sixties, but the great group of sonnets between number 18 (beginning with perhaps the sole line from the sequence that remains at the forefront of popular culture, "Shall I compare thee to a summer's day?") and 126 describe a wide range of ideas and, in ways that may be surprising to those who are yet to read them, ordinary daily activities that make them intriguing and revelatory every time they are read, whether keeping to the given sequence or opening here and there to sonnets at random, each of which have a claim to being classic poetry and worthy (in their own unique ways) of as much attention as his greatest plays. William Shakespeare was born in Stratford-upon-Avon in 1564. His father was John Shakespeare, an alderman and glover, and his mother was Mary Arden, the daughter of a wealthy landowning farmer. William was the third child of eight, and the eldest surviving son. In 1582, he married Anne Hathaway (about whom little is known, beyond her being eight years his senior), and their daughter Susanna was born six months later. Twins Hamnet and Judith followed in 1585; Hamnet died at the age of eleven of unknown causes. The period from 1585 to 1592 is known as Shakespeare's "lost years." His works began to be published and mentioned in the 1590s; he would ultimately write about 38 plays (sometimes in collaboration, likely making uncertain contributions to other plays), two long narrative poems, 154 sonnets, and other short verses. Shakespeare died--within one month of signing his will, and the date his birth is traditionally observed--on 23 April, 1616.
Presenting The Sonnets by William Shakespeare with an introduction by Nicholas Tamblyn, and illustrations by Katherine Eglund. This classic is part of The Essential Series by Golding Books, and is also available in a Large Print edition. By becoming a monument in the past few centuries, William Shakespeare has been ruined for many children and adults alike. Monuments belie the freshness and passion of their original creation. Shakespeare was not immune to common human suffering and harmful desires. Even within the confines of poetic rhyme and the motives he may have had in addressing individuals (or the more lasting audience that he often alludes to), he used the sonnets to both reveal and explore powerful feelings, and ultimately to examine the ways that one may become, while inevitably flawed in some if not most of the areas of our sometimes unscrupulous and often challenging lives, a better person. Shakespeare's Sonnets, like his plays, lead many readers to Bardolatry. Classics among early English poetry and (more modern) romantic poetry, lines found there (like his plays) mark them out as famous poems that are widely known, but some of the most touching, beautiful, or memorable sonnets are likely never to have reached the eyes or ears of most people. Many will agree with Wordsworth's famous line (in his sonnet on the sonnet) that "with this same key Shakespeare unlocked his heart." As outlined in Nicholas Tamblyn's introduction, the sonnet sequence begins with seventeen that urge a "right fair" youth to reproduce his beauty, and the remaining sonnets until 126 continue to be addressed to this "thou" and "you"; the sonnets after 127 are focussed on the "dark lady," excluding the last two, which are different in tone and are related to Cupid. Sonnet 126 contains only twelve lines rather than fourteen, and so in a sense acts as a deliberate or incidental turning point between the two sections. Several sonnets touching on mortality appear in the sixties, but the great group of sonnets between number 18 (beginning with perhaps the sole line from the sequence that remains at the forefront of popular culture, "Shall I compare thee to a summer's day?") and 126 describe a wide range of ideas and, in ways that may be surprising to those who are yet to read them, ordinary daily activities that make them intriguing and revelatory every time they are read, whether keeping to the given sequence or opening here and there to sonnets at random, each of which have a claim to being classic poetry and worthy (in their own unique ways) of as much attention as his greatest plays. William Shakespeare was born in Stratford-upon-Avon in 1564. His father was John Shakespeare, an alderman and glover, and his mother was Mary Arden, the daughter of a wealthy landowning farmer. William was the third child of eight, and the eldest surviving son. In 1582, he married Anne Hathaway (about whom little is known, beyond her being eight years his senior), and their daughter Susanna was born six months later. Twins Hamnet and Judith followed in 1585; Hamnet died at the age of eleven of unknown causes. The period from 1585 to 1592 is known as Shakespeare's "lost years." His works began to be published and mentioned in the 1590s; he would ultimately write about 38 plays (sometimes in collaboration, likely making uncertain contributions to other plays), two long narrative poems, 154 sonnets, and other short verses. Shakespeare died--within one month of signing his will, and the date his birth is traditionally observed--on 23 April, 1616.
In the first book-length consideration of the topic for sixty years, Kevin Donnelly examines the importance of music in British film, concentrating both on musical scores, such as William Walton's score for Henry V (1944) and Malcolm Arnold's music for The Bridge on the River Kwai (1957), and on the phenomenon of the British film musical.
The art and legacy of a towering figure in the independent film movement.
The "Gothic" style was a key trend in Italian cinema of the 1950s and 1960s because of its peculiar, often strikingly original approach to the horror genre. These films portrayed Gothic staples in a stylish and idiosyncratic way, and took a daring approach to the supernatural and to eroticism, with the presence of menacing yet seductive female witches, vampires and ghosts. Thanks to such filmmakers as Mario Bava (Black Sunday), Riccardo Freda (The Horrible Dr. Hichcock), and Antonio Margheriti (Castle of Blood), as well the iconic presence of actress Barbara Steele, Italian Gothic horror went overseas and reached cult status. The book examines the Italian Gothic horror of the period, with an abundance of previously unpublished production information drawn from official papers and original scripts. Entries include a complete cast and crew list, home video releases, plot summary and the author's analysis. Excerpts from interviews with filmmakers, scriptwriters and actors are included. The foreword is by film director and scriptwriter Ernesto Gastaldi.
What does research tell us about the effects of school leadership on student achievement? What specific leadership practices make a real difference in school effectiveness? How should school leaders use these practices in their day-to-day management of schools and during the stressful times that accompany major change initiatives? Robert J. Marzano, Timothy Waters, and Brian A. McNulty provide answers to these and other questions in School Leadership That Works. Based on their analysis of 69 studies conducted since 1970 that met their selection criteria and a recent survey of more than 650 building principals, the authors have developed a list of 21 leadership responsibilities that have a significant effect on student achievement. Readers will learn the specific behaviors associated with the 21 leadership responsibilities; the difference between first-order change and second-order change and the leadership responsibilities that are most important for each; how to work smart by choosing the right work to focus on to improve student achievement; the advantages and disadvantages of comprehensive school reform models for improving student achievement; how to develop a site-specific approach to improving student achievement, using a framework of 11 factors and 39 action steps; and a five-step plan for effective school leadership. Combining rigorous research with practical advice, School Leadership That Works gives school administrators the guidance they need to provide strong leadership for better schools.
Based on lectures that Brakhage gave at the school of the Art Institute of Chicago, this volume portrays eight artists who have electrified American independent cinema across four decades. With characteristic directness, anecdotal style, and wry humor, Brakhage, himself an influential American independent filmmaker, brings into sharp focus the life and work of Jerome Hill, Marie Menken, James Brouhgton, Maya Deren, Ken Jacobs, Sidney Peterson, Bruce Conner, and Christopher MacLaine. He also portrays the art scenes of New York and San Francisco during times of ferment and controversy. ISBN 0-914232-99-1: $20.00.
We at Penguin Putnam mourn the death of Pauline Kael, a singularly unique voice in American letters. She will be sorely missed.In her decades-long career, Pauline Kael established herself as the most renowned and respected movie reviewer in the field. The breadth of her knowledge of film history and technique, her insight into the arts of acting and directing, and her unfailing wit and candor endeared her to movie lovers everywhere.For Keeps offers the best of Kael's reviews and other writings on movies from the collections that have marked her matchless career, starting with I Lost it at the Movies (1965), through Kiss Kiss Bang Bang, Deeper into Movies (a National Book Award winner), The Citizen Kane Book ("Raising Kane", the full text on the making of the movie, is included here), and all the others in a glorious run concluding with Movie Love in 1991. Once Kael retired from regular reviewing, her reputation only increased, and for the inimitable real thing, readers must turn to this volume to sample her perspicacity, fluency, and style. More than 275 reviews are arranged chronologically -in effect, a history of 30 years of movies. This ultimate compendium from America's most eloquent, passionate, and provocative critic is a boon to serious moviegoers and an indispensible companion to film in the age of technological and pop culture overload.
The advent of color, big musicals, the studio system, and the beginning of institutionalized censorship made the thirties the defining decade for Hollywood. The year 1939, celebrated as "Hollywood's greatest year," saw the release of such memorable films as Gone with the Wind, The Wizard of Oz, and Stagecoach. It was a time when the studios exercised nearly absolute control over their product as well as over such stars as Bette Davis, Clark Gable, and Humphrey Bogart. In this fifth volume of the award-winning series History of the American Cinema, Tino Balio examines every aspect of the filmmaking and film exhibition system as it matured during the Depression era.
An illuminating critique of modern thought from America's "Philosopher for Everyman" (Time). Ten Philosophical Mistakes examines ten errors in modern thought and shows how they have led to serious consequences in our everyday lives. It teaches how they came about, how to avoid them, and how to counter their negative effects.