After the loss of a loved one, a woman must face the shattering memories of a past trauma. Crash is the fractured unraveling of memory; a tour de force narrative about family, faith and love.
After the loss of a loved one, a woman must face the shattering memories of a past trauma. Crash is the fractured unraveling of memory; a tour de force narrative about family, faith and love.
During the period of turmoil that gripped late twentieth-century Indonesia, theater troupes in Central Java staged stories of the past that feature a familiar cast of rulers, nobles, clown servants, and ordinary people. However, these performances did more than simply pass on age-old cultural "traditions." By stretching the framework of Javanese theater convention, they aired opposition cultural and political perspectives, and expressed a dynamic response to social change. As political pressures intensified in 1997-1998, actors staged witty, critical performances to enthusiastic, oppositionist crowds, but the dismantling of repressive state control after the fall of Suharto diminished interest in indirect, political critiques from the stage, and economic weakness caused patronage and sponsorship to dry up. By 2003-2004 a revival of sorts was underway as performers engaged with the politics of regional autonomy and democratization, and actors responded to the devastating 2006 Yogyakarta earthquake by staging rudimentary shows in the worst-affected areas to help sustain community spirit. Barbara Hatley's account of these tumultuous years shows how performers and audiences adapted, resisted, incorporated, and survived in the face of political upheaval and regime change, capitalist transformation, globalization, and economic crisis.
Barbara Hatley's account of these tumultuous years shows how performers and audiences adapted, resisted, incorporated, and survived in the face of political upheaval and regime change, capitalist transformation, globalization, and economic ...
Trenia Hill Coleman is an author from Northern Virginia. “In The Shadows” is Trenia’s fourth novel. Trenia lived in Dubberly, Louisiana and attended Ringgold High School in Ringgold, Louisiana before joining the military. Trenia attended Grambling State University, and is a graduate of Central Texas College in Killeen, Texas, and Faulkner University in Montgomery, Alabama. She is currently serving in the United States Army and lives with her husband and children.
Trenia Hill Coleman is an author from Northern Virginia. “In The Shadows” is Trenia’s fourth novel. Trenia lived in Dubberly, Louisiana and attended Ringgold High School in Ringgold, Louisiana before joining the military.
Sunita is the younger daughter of the Rishi family. She's just completed graduation and her parents are keen on arranging her marriage to Akshay Malhotra. She's dead set against this and fights tooth and nail against it. Sunita wants to study further and have a career in interior design. But her parents want her to get married and become a housewife. The tall, dark and handsome Akshay is also extremely rich. He's highly educated and quite a catch. Only, he's also against the idea of an arranged wedding. But a natural curiosity leads him to find out more about Sunita. He's hooked the moment he sees her. But, the young lady is out to stop the match by hook or by crook. It looks like Sunita is not only fighting her parents and Akshay, but also her growing attraction for the man himself.
Sunita is the younger daughter of the Rishi family.
A general introduction, also by the Arden General Editors, gives the reader an overall view of how and why Shakespeare has become such an influential cultural icon, and how perceptions of his work have changed in the intervening four centuries. The introduction summarises the known facts about the dramatist's life, his reading and use of sources, and the nature of theatrical performance during his lifetime.
William Shakespeare Richard Proudfoot, Ann Thompson, David Scott Kastan ...
In 1664, Pericles was the first of seven plays attributed to Shakespeare which
were added as a supplement to a reissue of the 1663 Third Folio. Alone of the
seven ...
The Oxford Shakespeare offers authoritative texts from leading scholars in editions designed to interpret and illuminate the plays for modern readers - a new, modern-spelling text, based on the Quarto text of 1608 - on-page commentary and notes explain meaning, staging, allusions and much else - detailed introduction considers composition, sources, performances and changing critical attitudes to the play - illustrated with production photographs and related art - includes 'The Ballad of King Lear' and related offshoots - full index to introduction and commentary - durable sewn binding for lasting use 'not simply a better text but a new conception of Shakespeare. This is a major achievement of twentieth-century scholarship.' Times Literary Supplement ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Goneril and Regan are much less psychologically complex than most
Shakespearean characters of comparable importance.'1 Shakespeare drew on
many other direct as well as traditional sources, too, and his transmutation of his
inherited ...
(Applause Books). This landmark publication is printed in clear, legible type. Each play has its own comprehensive introduction as well as extensive, expert annotations. Highlighted areas show where lines have been altered over time and also shows where verse has been changed to prose in the past (but not here!) The original compositions are marked and folio clues are highlighted.
Special thanks to Norman Welsh who first introduced me to the Folio Text, and to
Tina Packer who (with Kristin Linklater and all the members of Shakespeare & Co
.) allowed me to explore the texts on the rehearsal floor. To Jane Nichols for her ...
