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Explains how to utilize the mouth and voice in forming and imitating animal, musical instrument, and environmental sounds.
FromGeronimo!togesundheittohaminahaminatoholymackerel, and fromabracadabratozoinks, Mark Dunn and Sergio Aragonés show you interjections like you've never seen them before. Often thought of as unnecessary verbal fringe or simply linguistic decoration, interjections (ahem,howdy,mammamia,pshaw,tally-ho,whoop-de-do) may well be the most overlooked part of speech in the English language.ZOUNDS! A Browser's Dictionary of Interjectionsfocuses the spotlight on this most deserving (and sometimes most demented) grammatical group. A light-hearted look at more than 500 interjections,ZOUNDS!explores the origins of these essential words and highlights the contributions of these previously unheralded parts of speech. Perfect for both word lovers and the casual reader,ZOUNDS!brings together the linguistic talents of Mark Dunn, author of the award-winning novelElla Minnow Pea, and the graphic hilarity of Sergio Aragonés, the legendary cartoonist and contributor to Mad Magazine, for a delightful romp through grammar, culture, and the English language. Famous interjections include: "Eureka!" -Archimedes "Badabing-badaboom" -Tony Soprano "Stuff and nonsense!" -Alice,Alice in Wonderland "Bah! Humbug!" -Scrooge "Fiddle-dee-dee !" -Scarlett O'Hara "Leapin' lizards!" -Little Orphan Annie "Nanoo, nanoo" -Mork, from "Mork & Mindy" "Dyn-O-Mite!" -Jimmie Walker, "Good Times" "Bully!" -President Theodore Roosevelt
"Zounds has been described as a political band. It has been labelled as squat-rock, pop-rock, peace-punk, anarcho-punk, post-punk, psychedelic, punk-pop and a million other things. But those are just labels, I'm not that bothered what people call it really." -Steve Lake, June 2013 This is part Steve's autobiography, part band history and part insiders story of the 1980's UK anarcho punk scene. Zounds was formed around the nucleus of Steve Lake and evolved from a number of jamming sessions with other musicians and friends in Oxford, taking in influences from the Velvet Underground to the Sex Pistols. The band began performing gigs in 1977/78, and became more politicized owing to troubles with police and unfolding events of the cold war, and became more and more involved with free festivals, alongside The Mob, with whom they developed a close association. They met up with fellow anarchists Crass when, legend has it, their van broke down on the road. They made their way to nearby Dial House, where Crass were based, who helped them with repairs. The two bands became friends, and although musically very divergent, they shared many common political views. After undergoing several line-up changes Zounds shortly afterwards released their first EP, Can't Cheat Karma, on the Crass Records label. The EP featured possibly their most well-known track "Subvert", a call to arms against the grind of daily life. The release of this EP and association with Crass led to an increase in the band's profile in the embryonic Anarcho-punk scene, touring with both Crass and the Poison Girls, as well as performing several squat gigs in West Berlin. The band released their first album The Curse of Zounds on Rough Trade Records in 1981, recording and mixing the LP within five days. The cover art, by anarchist artist Clifford Harper, featured a painting of fire fighters apparently trying to put out a blaze at the Houses of Parliament in Westminster. However, the picture continued onto the back cover, which showed that in fact they are spraying the fire with petrol, thus feeding it. In this book Steve Lake, principle writer of the band Zounds, collects all the band's lyrics and illuminates each with a relevant commentary. It contains personal reminisces about how the band and their peers lived, it delves into the background of the lyrics and looks at the wider social context in which the band operated.
Religious issues and discourse are key to an understanding of Shakespeare's plays and poems. This dictionary discusses over 1000 words and names in Shakespeare's works that have a religious connotation. Its unique word-by-word approach allows equal consideration of the full nuance of each of these words, from 'abbess' to 'zeal'. It also gradually reveals the persistence, the variety, and the sophistication of Shakespeare's religious usage. Frequent attention is given to the prominence of Reformation controversy in these words, and to Shakespeare's often ingenious and playful metaphoric usage of them. Theological commonplaces assume a major place in the dictionary, as do overt references to biblical figures, biblical stories and biblical place-names; biblical allusions; church figures and saints.
Music as a Chariot offers a multidisciplinary perspective whose primary proposition is that theatre is a type of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. Beginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. The book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this concept—namely the fundamental techniques artists use to create sound scores for theatre. With contributions from directors, playwrights, actors and designers, Music as a Chariot explores the use of music to carry ideas into the human soul—a concept that extends beyond the theatrical to include film, video gaming, dance, or anywhere art is manipulated in time.
Five friends: Caleb, Leion, Dean, Armand and Zahir, attend Astoria High School, like every other day until five new students arrive. From the minute they walked into their classroom the boys got a feeling that they didn't want to be friends. As they find out that the new students are hunters they begin to fear for their lives. Because Caleb and his friends aren't just human but they are also vampires and werewolves. Until the day they turn eighteen they will remain human, but on their eighteenth birthday they will turn into what they need to be. Will the hunters let them turn into the creatures that are waiting to come out? Will they be able to stop the hunters from hurting their friends and families? And to top it all off, will they be able to control their new side once they turn?
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The New York Times Best Seller Experience the Star Wars saga reimagined as an Elizabethan drama penned by William Shakespeare himself, complete with authentic meter and verse, and theatrical monologues and dialogue by everyone from Darth Vader to R2D2. Return once more to a galaxy far, far away with this sublime retelling of George Lucas’s epic Star Wars in the style of the immortal Bard of Avon. The saga of a wise (Jedi) knight and an evil (Sith) lord, of a beautiful princess held captive and a young hero coming of age, Star Wars abounds with all the valor and villainy of Shakespeare’s greatest plays. Authentic meter, stage directions, reimagined movie scenes and dialogue, and hidden Easter eggs throughout will entertain and impress fans of Star Wars and Shakespeare alike. Every scene and character from the film appears in the play, along with twenty woodcut-style illustrations that depict an Elizabethan version of the Star Wars galaxy. Zounds! This is the book you’re looking for.