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In Earnest, Earnest?, the speaker, Eleanor, writes postcards to her on-again-off-again lover, Earnest. The fact that her lover’s name is Earnest and that their relationship is fraught, raises questions of sincerity and irony, and whether both can be present at the same time. While Earnest can be read literally as Eleanor’s lover, he is best understood as another side of the poet’s self. The ambiguity at play in Earnest, Earnest? is embodied in the form of the “Earnest Postcards” that structure the book—these postcards are experimental in their use of images and formal in their dialogue with the sonnet. Thus, Earnest, Earnest? is a question of tone, address, and form.
In this delightfully romantic LGBTQ+ comedy-of-errors inspired by Oscar Wilde’s The Importance of Being Earnest, a high school senior works up the courage to ask her long-time crush to prom all while deciding if she should look for her bio family.
In Earnestly Contending, Dickson Bruce examines the ways in which religious denominations and movements in antebellum America coped with the ideals of freedom and pluralism that exerted such a strong influence on the larger, national culture. Despite their enormous normative power, these still-evolving ideals--themselves partly religious in origin--ran up against deeply entrenched concerns about the integrity of religious faith and commitment and the role of religion in society. The resulting tensions between these ideals and desires for religious consensus and coherence would remain unresolved throughout the period. Focusing on that era's interdenominational competition, Bruce explores the possibilities for and barriers to realizing ideals of freedom and pluralism in antebellum America. He examines the nature of religion from the perspectives of anthropology and cognitive sciences, as well as history, and uses this interdisciplinary approach to organize and understand specific tendencies in the antebellum period while revealing properties inherent in religion as a social and cultural phenomenon. He goes on to show how issues from that era have continued to play a role in American religious thinking, and how they might shed light on the controversies of our own time.
The thesis of this book is that neither laughter nor humor can be understood apart from the feeling that underlies them. This feeling is a mental state in which people exclude some situation from their knowledge of how the world really is, thereby inhibiting seriousness where seriousness would be counterproductive. Laughter is viewed as an expression of this feeling, and humor as a set of devices designed to trigger it because it is so pleasant and distracting. Beginning with phonetic analyses of laughter, the book examines ways in which the feeling behind the laughter is elicited by both humorous and nonhumorous situations. It discusses properties of this feeling that justify its inclusion in the repertoire of human emotions. Against this background it illustrates the creation of humor in several folklore genres and across several cultures. Finally, it reconciles this understanding with various already familiar ways of explaining humor and laughter.
Jack Worthing gets antsy living at his country estate. As an excuse, he spins tales of his rowdy brother Earnest living in London. When Jack rushes to the city to confront his "brother," he's free to become Earnest and live a different lifestyle. In London, his best friend, Algernon, begins to suspect Earnest is leading a double life. Earnest confesses that his real name is Jack and admits the ruse has become tricky as two women have become enchanted with the idea of marrying Earnest. On a whim, Algernon also pretends to be Earnest and encounters the two women as they meet at the estate. With two Earnests who aren't really earnest and two women in love with little more than a name, this play is a classic comedy of errors. This is an unabridged version of Oscar Wilde's English play, first published in 1899.
"Painting is a Supreme Fiction presents the writings of artist and poet Jesse Murry (1948-1993), an original mind who sought to unite the histories of Romantic landscape painting with the realities of Black experience"--