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Various kinds of games and activities having to do with word plays.
At once entertaining and educational, this engaging book is a funny, erudite, and provocative exploration of puns, the people who make them, and this derided wordplay's remarkable impact on human history.
The Oxford Handbook of English Prose 1500-1640 is the only current overview of early modern English prose writing. The aim of the volume is to make prose more visible as a subject and as a mode of writing. It covers a vast range of material vital for the understanding of the period: from jestbooks, newsbooks, and popular romance to the translation of the classics and the pioneering collections of scientific writing and travel writing; from diaries, tracts on witchcraft, and domestic conduct books to rhetorical treatises designed for a courtly audience; from little known works such as William Baldwin's Beware the Cat, probably the first novel in English, to The Bible, The Book of Common Prayer and Richard Hooker's eloquent statement of Anglican belief, The Laws of Ecclesiastical Polity. The work not only deals with the range and variety of the substance and types of English prose, but also analyses the forms and styles of writing adopted in the early modern period, ranging from the Euphuistic nature of prose fiction inaugurated by John Lyly's mannered novel, to the aggressive polemic of the Marprelate controversy; from the scatological humour of comic writing to the careful modulations of the most significant sermons of the age; and from the pithy and concise English essays of Francis Bacon to the ornate and meandering style of John Florio's translation of Montaigne's famous collection. Each essay provides an overview as well as comment on key passages, and a select guide to further reading.
Shakespeare Unlearned dances along the borderline of sense and nonsense in early modern texts, revealing overlooked opportunities for understanding and shared community in words and ideas that might in the past have been considered too silly to matter much for serious scholarship. Each chapter pursues a self-knowing, gently ironic study of the lexicon and scripting of words and acts related to what has been called 'stupidity' in work by Shakespeare and other authors. Each centers significant, often comic situations that emerge -- on stage, in print, and in the critical and editorial tradition pertaining to the period -- when rigorous scholars and teachers meet language, characters, or plotlines that exceed, and at times entirely undermine, the goals and premises of scholarly rigor. Each suggests that a framing of putative 'stupidity' pursued through lexicography, editorial glossing, literary criticism, and pedagogical practice can help us put Shakespeare and semantically obscure historical literature more generally to new communal ends. Words such as 'baffle' in Twelfth Night or 'twangling' and 'jingling' in The Tempest, and characters such as Sir Andrew Aguecheek and Holofernes the pedant, might in the past have been considered unworthy of critical attention -- too light or obvious to matter much for our understanding of Shakespeare and his contemporaries. Adam Zucker's meditation on the limits of learnedness and the opportunities presented by a philology of stupidity argues otherwise.
'...Rubinstein is far from innocent and comes to our aid with a lot of learning...and is quite right to urge that not to appreciate the sexiness of Shakespeare's language impoverishes our own understanding of him. For one thing, it was a strong element in his appeal to Elizabethans, who were much less woolly-mouthed and smooth-tongued than we are. For another, it has constituted a salty preservative for his work, among those who can appreciate it...an enlightening book.' A.L.Rowse, The Standard.
All of Xanth is a stage as an unlikely hero saves the show in the New York Times–bestselling series. There’s no shortage of laughs when Jess is around; she’s been cursed to have nobody take her seriously. But her dubious talent comes in handy when she meets the very handsome showman Magnus. He promises to fake taking her seriously—if Jess joins his traveling show. But first they must see the Good Magician. He will give them the use of the flying Fire Boat to tour the realm if they complete a quest. The only problem is, he can’t remember what quest. Something to do with night mares, day mares, and one or two future princesses. As Jess and Magnus try to unravel the mystery, they discover their true mission: to save Xanth from a big bird with a bone to peck . . .
If you like word play and puns, you will love this book. Relying on a lifetime of collecting Shaggy Dog Stories, Spoonerisms, and other attacks on the English language, the author has produced a book that is becoming a reference for punsters. This book has over 310 of the best 'Groaners' ever told. Each one is contained on a single page and features an illustration and title relevant to the story. These set-up puns comprise a goldmine of tales that can be stretched in the act of telling, thus making the listener's 'Groan' more significant. Included is a foreword by Stan Kegel, International Punster of the Year and O. Henry Pun-Off Championships Judge. Also included are 6 pages of simple pun statements and many links to pun sites on the web.
'A whirlwind tour of the joys of English, by the master of concision and wit.’ – Susie Dent ‘Gyles is very funny – and never lost for words!’ – Dame Judi Dench As fans of Just a Minute know, the key to the game is knowing your way around the English language: how it works, how it’s evolved, and how words connect, often in surprising ways. When it comes to the English language (and Just a Minute), Gyles Brandreth has seen it all – and now he’s ready to put you through your linguistic paces, to become a Just a Minute expert yourself. In this wildly entertaining A to Z of verbal acrobatics, Gyles takes you on a whirlwind tour of our mother tongue – from the origins of words and correct grammar and punctuation, to similes, euphemisms and record breaking tongue twisters (try getting your mouth around floccinaucinihilipification!). An idiosyncratic blend of history, word play, anecdote, and hyperbole, all in 60-second instalments, this is Gyles Brandreth at his word-perfect, Just-a-Minute best. You’ll never mix your metaphors again...