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This remarkable study shows how prologues ushered audience and actors through a rite of passage and how they can be seen to offer rich insight into what the early modern theatre was thought capable of achieving.
This is not another alternative energy study. Rather, The Prologue identifies and charts the security-related trajectory of a relatively new global phenomenon: the ascent of alternative energy as a 21st century megatrend. Why and how have contemporary alternative energy developments evolved into a 21st century global socio-political and techno-economic megatrend? What are the security implications of this megatrend? And what does the megatrend’s evolution reveal about upcoming geopolitical, energy, defense, environmental, and economic security challenges? This book endeavors to answer these questions by establishing the conceptual framework of a universally securitized world in which mutually interacting threats have expanded the needs and security considerations of today’s globalized and interdependent actors, including states, international organizations, multinational corporations, and political and social movements. “Alexander Mirtchev’s sweeping exploration of the changing energy landscape looks far into the future and outlines issues that will occupy scholars and policymakers for decades to come.”—The Hon. Henry Kissinger, Chairman, Kissinger Associates, Former Secretary of State and National Security Advisor “With the advancements in alternative energy technology at the beginning of the 21st century, energy security thinking and planning will never be the same—Alexander Mirtchev’s profoundly original book reveals these new dilemmas that will challenge policymakers in all major economies and provides for dealing with the new realities in a smart way.”—The Hon. Judge William H. Webster, Chairman, Homeland Security Advisory Council, Former Director of the CIA and FBI
The tenacious Colonel Benedict and his son, Tuck, are sent to Titan, Saturn’s fifth moon, to investigate reports of smuggling. Soon they discover that the less-than-friendly colony is hiding much more than just a smuggler. Together they dig up a scandalous case of interstellar sabotage and what the colonists reverently refer to as “THE BIG SECRET,” which could destroy Earth’s power supply - forever. Can the Colonel and Tuck resolve an age-old dispute between the Titan colonists and Earthly authorities before the clock runs out? Mankinds fate depends on it . . .
Plautus was Ancient Rome's greatest comic playwright, Shakespeare drew heavily on his plots, and his legacy is prevalent throughout modern drama. In this expanded edition of his successful book, one of America's foremost Classical scholars introduces performance criticism to the study of Plautus' ancient drama. In addition to the original detailed studies of six of the dramatists's plays, the methodology of performance criticism, the use of conventions, and the nature of comic heroism in Plautus, this edition includes new studies on: * the induction into the world of the play * the scripted imitation of improvisation * Plautus's comments on his previous work * the nature of 'tragicomedy'.
The third in 'The Kingkiller Chronicle' series of fantasy novels by Patrick Rothfuss.
For many years the domain of specialists in early Latin, in complex metres, and in the reconstruction of texts, Roman comedy is now established in the mainstream of Classical literary criticism. Where most books stress the original performance as the primary location for the encountering of the plays, this book finds the locus of meaning and appreciation in the activity of a reader, albeit one whose manner of reading necessarily involves the imaginative reconstruction of performance. The texts are treated, and celebrated, as literary devices, with programmatic beginnings, middles, ends, and intertexts. All the extant plays of Plautus and Terence have at least a bit part in this book, which seeks to expose the authors' fabulous artificiality and artifice, while playing along with their differing but interrelated poses of generic humility.
Though individual prologues and epilogues have been treated in depth, very little scholarship has been published on early modern framing texts as a whole. The Framing Text in Early Modern English Drama fills a gap in the literature by examining the origins of these texts, and investigating their growing importance and influence in the theatre of the period. This topic-led discussion of prologues and epilogues deals with the origins of these texts, the difficulty of definition, and the way in which many prologues and epilogues appear to interact on such subjects as the composition of the theatre audience and the perceived place of women in such an audience. Author Brian Schneider also examines the reasons for, and the evidence leading to, the apparently sudden burgeoning of these texts after the Restoration, when prologues and epilogues grace nearly all the dramas of the time and become a virtual cottage industry of their own. The second section-a comprehensive list of prologues and epilogues-details play titles, playwrights, theatres and theatre companies, first performance and the earliest edition in which the framing text(s) appears. It quotes the first line of the prologue and/or epilogue and uses the printer's signature to denote the page on which the texts can be found. Further information is provided in notes appended to the relevant entry. A final section deals with 'free-floating' and 'free-standing' framing texts that appear in verse collections, manuscripts, and other publications and to which no play can be positively ascribed. Combining original analysis with carefully compiled, comprehensive reference data, The Framing Text in Early Modern English Drama provides a genuinely new angle on the drama of early modern England.
Two hundred years before Shakespeare observed that “all the world’s a stage,” another writer with a flair for drama realized the same fact. This writer was Geoffrey Chaucer. Chaucer, however, presented his dramatic efforts through the medium of short stories, and he is regularly referred to as one of the world’s great storytellers. Yet there are certain questions which arise time and again in the minds of literary scholars. Most of the tales in the Canterbury collection are excellent, but why did Chaucer include such obviously poor recitals as the dull “Melibeus” and the lengthy “Parson’s Tale”? Did he fail to recognize their lack of literary merit? Or were those of his stories which seem so dull to modern readers really popular in fourteenth-century England? Of Sondry Folk is Lumiansky’s answer to such questions. But it is more than that. It is the revelation of Chaucer as dramatic writer. Chaucer, says Lumiansky, did not intend primarily to tell a series of good tales. Instead, he chose tales which suited his purpose of dramatic exposition of character. And the characters, though drawn from many walks of life, are not stereotypes. Their tales not only disclose what the Pilgrims think of themselves but reveal these Pilgrims as they really are—dull, romantic, egotistical, pious, or lustful. Not all readers will agree with Lumiansky’s conclusions in this book. But his scholarship, his clear, uninvolved prose, and his wit and frankness make of it an excellent handbook for the student of the Canterbury Tales. Of Sondry Folk will increase the enjoyment and understanding of Chaucer’s art for any reader, lay or scholarly.
First comprehensive introduction to women's role in, and access to, literary culture in early modern Britain.