Kirjahaku

Romantic criticism, of which Shakespeare is the central figure, invented many of the modes of modern criticism. It is also distinct from many contemporary academic norms. Engaged with the social and intellectual currents of an age of revolutionary change, it is experimental, writerly, and individually expressive. Above all it is creative in response to the difficulties of understanding aesthetic experience in new ways, and in setting those experiences in new cultural and political contexts that Shakespeare's work helped to shape. This book presents the main currents of these exciting but relatively little known engagements with Shakespeare, and through Shakespeare with the theory and practice of criticism, in England, Germany, and France, from the 1760s in Germany to the aftermath of the Romanticism in France. It also discusses Shakespeare in the theatre of the period--realist stagings which prefigure Shakespeare films; adaptations which fitted Shakespeare to contemporary tastes; and bare-stage experiments which foreshadow modes of contemporary theatre. A chapter on scholarship in the period shows Shakespeare as central to modern editing and historical criticism. Much of the writing discussed is by men and women whose focus is not primarily critical but creative--poetry (Coleridge, Keats, Heine), fiction (Stendhal), drama (Lessing), or all three (Goethe, Hugo), cultural critique (Jameson, de Staël), philosophy (Hamann, Herder), politics (Hazlitt, Guizot), aesthetics (the Schlegel circle), or new original work in other media (Berlioz, Delacroix, Chassériau). It is writing directed to new modes of creating as well as new modes of understanding.

Romantic criticism, of which Shakespeare is the central figure, invented many of the modes of modern criticism. It is also distinct from many contemporary academic norms. Engaged with the social and intellectual currents of an age of revolutionary change, it is experimental, writerly, and individually expressive. Above all it is creative in response to the difficulties of understanding aesthetic experience in new ways, and in setting those experiences in new cultural and political contexts that Shakespeare's work helped to shape. This book presents the main currents of these exciting but relatively little known engagements with Shakespeare, and through Shakespeare with the theory and practice of criticism, in England, Germany, and France, from the 1760s in Germany to the aftermath of the Romanticism in France. It also discusses Shakespeare in the theatre of the period--realist stagings which prefigure Shakespeare films; adaptations which fitted Shakespeare to contemporary tastes; and bare-stage experiments which foreshadow modes of contemporary theatre. A chapter on scholarship in the period shows Shakespeare as central to modern editing and historical criticism. Much of the writing discussed is by men and women whose focus is not primarily critical but creative--poetry (Coleridge, Keats, Heine), fiction (Stendhal), drama (Lessing), or all three (Goethe, Hugo), cultural critique (Jameson, de Staël), philosophy (Hamann, Herder), politics (Hazlitt, Guizot), aesthetics (the Schlegel circle), or new original work in other media (Berlioz, Delacroix, Chassériau). It is writing directed to new modes of creating as well as new modes of understanding.

In this book the author explores some of the lesser known portions of The Book of Common Prayer and asks how they may become more useful and acceptable in today's modern church.

Robert Laliberte has a dream--a dream to convert a run-down building into a premier space for bring-your-own-venue productions in his city's Summer Theatre Festival, a.k.a. Skeeter Fest. But achieving his dream isn't easy. Amid mounting debt and numerous technical problems, Robert is unaware that his beloved Venue 13 is also haunted. And if the belligerent ghost has anything to say about it, nobody's shows will go on.

First published in 1988, this book is a study of all Blake’s work in illuminated printing. It traces in particular, the development of his ideas on politics, religion, sexuality, and the imagination. There are substantial sections on some of Blake’s best-known works, including the Marriage of Heaven and Hell, and the Songs of Innocence and Experience, and full critical essays on the Four Zoas and Jerusalem. The book describes the historical contexts of Blake’s work, and sets it in relation to the political controversies of his age as these are reflected in the writings of Burke, Paine and Mary Wollstonecraft. It discusses the relationships of text and design in Blake, the characteristic verbal textures and rhythms of his longer poems, some influences on his thought, and developing structure of his personal myth and its relationship to other mythologies. The opening chapter discusses areas of fundamental disagreement with some of the main approaches to Blake whilst the final chapter discusses literary theory and the practice of criticism, arguing for an open and explicit involvement of personal experience and values and a more creative use of form in critical writing.

First published in 1988, this book is a study of all Blake’s work in illuminated printing. It traces in particular, the development of his ideas on politics, religion, sexuality, and the imagination. There are substantial sections on some of Blake’s best-known works, including the Marriage of Heaven and Hell, and the Songs of Innocence and Experience, and full critical essays on the Four Zoas and Jerusalem. The book describes the historical contexts of Blake’s work, and sets it in relation to the political controversies of his age as these are reflected in the writings of Burke, Paine and Mary Wollstonecraft. It discusses the relationships of text and design in Blake, the characteristic verbal textures and rhythms of his longer poems, some influences on his thought, and developing structure of his personal myth and its relationship to other mythologies. The opening chapter discusses areas of fundamental disagreement with some of the main approaches to Blake whilst the final chapter discusses literary theory and the practice of criticism, arguing for an open and explicit involvement of personal experience and values and a more creative use of form in critical writing.

A selection of sermons for the Christian Year, preached between 2001 and 2011 by Scottish Episcopal Church Licensed Lay Reader, David Fuller

'Out of my Mind' is a volume of poems, odes and verses, composed to commemorate a wide variety of events, occasions and activities. It includes the author's 'Mull Collection', celebrating the life and geography of the Isle of Mull

A compendium of academic essays written by a part-time, distance-learning student in pursuit of an Honours Degree in Theology at the University of Aberdeen, 2002-09

A liturgical study of the Anglican Book of Common Prayer and its creation and amendments during the Protestant Reformation

A short study of Erastianism in the Church of England covering the period from the Norman Conquest to the Present Day

This is the first book to offer a comprehensive study of Shakespearean ballets and their unique interpretive possibilities. Organised around adaptations of key plays, each chapter offers close study of the contrasting interpretations and styles of a number of choreographers and illuminates issues of gender, sexuality, race and politics.While Shakespeare’s work is recreated in diverse forms in theatres all over the world, ballet is potentially one of the most international and inclusive forms of theatrical expression, based in the fundamental expressive potential of the body. Since it moved into the avant-garde more than a century ago, it has been in the forefront of invention and experiment in the theatrical arts. But though ballet and Shakespeare together are prominent in the world of the creative arts of performance the hundreds of ballets which have been based on Shakespeare’s work are relatively unconsidered in Shakespearean scholarship and criticism. David Fuller considers a full range of Shakespeare’s oeuvre as it has been recreated in this form, with studies of some of his most famous works, including The Taming of the Shrew, A Midsummer Night’s Dream, the Sonnets, Romeo and Juliet, Hamlet, Othello, Macbeth, The Winter’s Tale and The Tempest. It discusses contrasting interpretations from the 1940s to the present by British, American and European choreographers, reading these as forms of creative criticism which reflect wider developments in society and in so doing show Shakespeare as perpetually contemporary.

The year is 1862, and the Civil War rages through the South. On a Virginia tobacco plantation, another kind of battle soon begins. There, Cassius Howard, a skilled carpenter and slave, risks everything -- punishment, sale to a cotton plantation, even his life -- to learn the truth concerning the murder of Emoline, a freed black woman, a woman who secretly taught him to read and once saved his life. It is clear that no one cares about her death in the midst of a brutal and hellish war. No one but Cassius, who braves horrific dangers to escape the plantation and avenge her loss. As Cassius seeks answers about Emoline's murder, he finds an unexpected friend and ally in Quashee, a new woman brought over from another plantation; and a formidable adversary in Hoke Howard, the master he has always obeyed. With subtlety and beauty, Sweetsmoke captures the daily indignities and harrowing losses suffered by slaves, the turmoil of a country waging countless wars within its own borders, and the lives of those people fighting for identity, for salvation, and for freedom.

The year is 1862, and the Civil War rages through the South. On a Virginia tobacco plantation, another kind of battle soon begins. There, Cassius Howard, a skilled carpenter and slave, risks everything -- punishment, sale to a cotton plantation, even his life -- to learn the truth concerning the murder of Emoline, a freed black woman, a woman who secretly taught him to read and once saved his life. It is clear that no one cares about her death in the midst of a brutal and hellish war. No one but Cassius, who braves horrific dangers to escape the plantation and avenge her loss. As Cassius seeks answers about Emoline's murder, he finds an unexpected friend and ally in Quashee, a new woman brought over from another plantation; and a formidable adversary in Hoke Howard, the master he has always obeyed. With subtlety and beauty, Sweetsmoke captures the daily indignities and harrowing losses suffered by slaves, the turmoil of a country waging countless wars within its own borders, and the lives of those people fighting for identity, for salvation, and for freedom.

This short monograph on the Eucharistic Anaphora records some of the research that the author undertook as a post-graduate student at the University of Glasgow, while studying the life and principal written works of Anglican monk and liturgist, Dom Gregory Dix (1901-52).

Current norms of literary criticism tend to ignore ways in which literary experiences relate to life experience, and some ways in which literary experiences can be intensified and deepened. In this vibrant and controversial book, David Fuller seeks to recover the life in Shakespeare's sonnets, arguing that feeling and emotion, often ignored in criticism, should be central. He offers two ways of attempting this - first engaging with the poems through kinds of feeling fundamental to the young man sequence as presented in other kinds of writing and art - philosophy (Plato), poetry and visual art (Michelangelo), fiction (Mann), music (Britten), and film (Jarman). He then discusses reading the poems aloud, showing that dwelling in the words without translating them into other terms brings out their beauty and expressivity, and leads to fuller understanding of their form, structure, and meaning.

This is a passionately argued account of the value of experience and emotion in reading Shakespeare's sonnets and of the importance of reading poetry aloud. Current norms of literary criticism and education tend to ignore the ways in which literary experiences relate to life experience, and some of the ways in which literary experiences themselves can be intensified and deepened. In this vibrant and controversial book, David Fuller seeks to recover the life in Shakespeare's sonnets, arguing that, although feeling and emotion are often ignored in criticism, they should be central to literary experience. He offers two ways of attempting this - first engaging with the poems through the kinds of feeling that are fundamental to the young man sequence as these are presented in other kinds of writing and art - philosophy, poetry, visual art, fiction, music, and film. He then discusses how reading the poems aloud can offer one of the best ways of fully participating in properly engaged reading, showing that dwelling in the words without translating them into other terms allows us to bring out their beauty and expressivity, and ultimately to come to fuller understandings of their form, structure, and meaning. "Shakespeare Now!" is a series of short books that engage imaginatively and often provocatively with the possibilities of Shakespeare's plays. It goes back to the source - the most living language imaginable - and recaptures the excitement, audacity and surprise of Shakespeare. It will return you to the plays with opened eyes.