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Author: Justin McCarthy
Publisher:
ISBN:
Category :
Languages : en
Pages : 422
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Book Description
Author: Justin McCarthy
Publisher:
ISBN:
Category :
Languages : en
Pages : 422
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Book Description
Author: Paula Marshall
Publisher: Harlequin
ISBN: 1460364058
Category : Fiction
Languages : en
Pages : 270
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Book Description
Running Blanchard's Bank after her father's death was fulfilling for Anastasia but, even so, she felt there was something missing from her life. Problems with the branch in York, decided Stacy. She would go herself. But the November weather turned severe and, with her retinue, she sought refuge at Pontisford Hall. It was a nightmare! The Hall was in a parlous state, and the man she thought to be the butler turned out to be Matthew, Lord Radley. He was quite as forceful and autocratic as herself, and the sparks that flew during her enforced stay had repercussions that quite appalled her….
Author: Justin Mac-Carthy
Publisher:
ISBN:
Category :
Languages : en
Pages : 308
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Book Description
Author: Edith Nesbit
Publisher: Library of Alexandria
ISBN: 1465588027
Category : Fiction
Languages : en
Pages : 236
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Book Description
Author: Dugald Macfadyen
Publisher:
ISBN:
Category : English poetry
Languages : en
Pages : 232
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Book Description
Author: Gregory Seach
Publisher:
ISBN: 9780949898401
Category :
Languages : en
Pages : 94
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Book Description
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 1092
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Book Description
Author:
Publisher:
ISBN:
Category : Drama
Languages : en
Pages : 384
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Book Description
Author: Beatrix Busse
Publisher: John Benjamins Publishing
ISBN: 9027253935
Category : Literary Criticism
Languages : en
Pages : 544
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Book Description
This study investigates the functions, meanings, and varieties of forms of address in Shakespeare s dramatic work. New categories of Shakespearean vocatives are developed and the grammar of vocatives is investigated in, above, and below the clause, following morpho-syntactic, semantic, lexicographical, pragmatic, social and contextual criteria. Going beyond the conventional paradigm of power and solidarity and with recourse to Shakespearean drama as both text and performance, the study sees vocatives as foregrounded experiential, interpersonal and textual markers. Shakespeare s vocatives construe, both quantitatively and qualitatively, habitus and identity. They illustrate relationships or messages. They reflect Early Modern, Shakespearean, and intra- or inter-textual contexts. Theoretically and methodologically, the study is interdisciplinary. It draws on approaches from (historical) pragmatics, stylistics, Hallidayean grammar, corpus linguistics, cognitive linguistics, socio-historical linguistics, sociology, and theatre semiotics. This study contributes, thus, not only to Shakespeare studies, but also to literary linguistics and literary criticism.
Author: William Shakespeare
Publisher:
ISBN: 9780975274330
Category : Drama
Languages : en
Pages : 160
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Book Description
This complete, line-by-line translation makes the language of Shakespeare's Much Ado About Nothing contemporary while preserving the metrical rhythm, complexity, and poetic qualities of the original. The aim is to capture both sound and sense of Shakespeare's comedy without the need for glosses or notes-to use contemporary language without simplifying or modernizing the play in any other way. Readers experience this comic exploration of male suspicion and its consequences with the challenge, comprehension, and delight of audiences 400 years ago-the way Shakespeare intended. Features * Line-by-line verse translation, not a prose paraphrase. * Complete. No lines deleted or simplified. * Accurate and authentic iambic pentameter. * True to the feel and look of Shakespeare's original. * Tone, complexity, and poetic devices preserved. * Subtlety and richness revealed without distracting notes and glosses. * For students, an accessible introduction to classic drama. * Attractive, uncluttered, easy-to-read layout. * Perfect for an audience-pleasing theatrical performance. "Too often, unless we read a Shakespeare play beforehand, we process the language as if it were coming from a poorly tuned-in radio station. Shakespeare didn't write his plays to be experienced impressionistically as 'poetry;' he assumed his language was readily comprehensible. At what point does a stage of a language become so different from the modern one as to make translation necessary? Mr. Richmond is brave enough to assert that, for Shakespeare, that time has come. The French have Moliere, the Russians have Chekhov-and now, we can truly say that we have our Shakespeare." -John McWhorter, Manhattan Institute "Richmond has performed a service for English-speaking students everywhere." -Boak Ferris, Calif. State Univ. Long Beach
