The Sublime Jester


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Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.




The Sublime Jester


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Reproduction of the original.




Four One-act Plays


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The Cork Jester's Guide to Wine


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From choosing a bottle of wine to bring to a dinner party to ordering from a restaurant wine list, many Americans are intimidated by the unpronounceable names and highbrow image of wine. Jennifer Rosen arms readers with the knowledge necessary to approach wine with confidence rather than fear. Through entertaining anecdotes, readers learn how to order with ease; what terms like "oak" and "earth" mean; what to expect from a sommelier; how to tame the red wine headache; how to cook with wine; storage and glassware tips; making wine at home; and much more. Witty and irreverent, Rosen sets novices at ease while delighting connoisseurs with her adventures and sophisticated palate.




Lost and Found


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Ausra Paulauskiene's book Lost and Found: The Discovery of Lithuania in American Fiction targets American as well as European scholars in the fields of literature, ethnic studies and immigration. The author discovers obscure texts on Lithuania and alerts Western and Eastern academia to their significance as well as the reasons for their neglect. For the first time, Abraham Cahan's autobiography The Education of Abraham Cahan and Ezra Brudno's autobiographical novel The Fugitive receive an extensive coverage, while Goldie Stone's My Caravan of Years and Margaret Seebach's That Man Donaleitis (sic) receive their first scholarly consideration ever. The author argues that misrepresentations, misattributions and exclusions of Lithuanian legacy in the U.S. were produced by major political events of the twentieth century.




Transactions


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Between Stars and Steel Fingers


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Poetry, along with meditation, became a shovel I used to dig into soil I had ignored for so long . . . to unearth a beauty that for so long had seemed elusive. There are three places from which the poems in this book bloomed . . . the first is the angst that comes from the distance between ourselves and our ideals, and God. Prostrated with attempts at "sanity-maintenance" I put pen to paper, and one day and "The Way God Speaks" trickled out like a balm. Poetry has that way of speaking to us, of connecting us with some voice deep inside ourselves. The second launching pad for the poems was electricity. In her book, Poem Crazy Susan Goldsmith Woolbridge writes about how poems live in people, places, and things that have that electrical quality. When you feel that, you know something lovely or potent is waiting to be unearthed. Finding electricity is directly related to the purity and cleanliness of our minds, to our ability to be available to the moment and free of preconceived notions. That's shy innocence, an endless discovery. The third and final origin was a rekindling of beauty and tenderness that grew from a relationship with the Supreme Soul. It was this union that reawakened a lost ability to feel, and opened my eyes to potential I once saw as dime-sized doors. These poems are about the heights of the spirit and the low grips of humanness. They are sixty or so dances between the doldrums and Divinity .




Histrionic Hamlet


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According to psychological research on acting, the histrionic personality consists of a compulsive tendency to play-act, exaggerate emotions, succumb to illusions, seek attention through speech, body language and costume, to be seductive and impulsive. An original intervention in the critical history of Shakespeare’s most famous play, Histrionic Hamlet argues that the Danish Prince is a stage representation of just such a personality—a born actor and a drama queen rather than a politician—incongruously thrown in the middle of ruthless high-stakes power struggle requiring pragmatic rather than theatrical skills. Uniquely among other English revenge tragedies, in Hamlet a histrionic protagonist striking a series of gratuitous, baffling, self-indulgent, and counterproductive poses is called upon to carry out a challenging and brutal political task, which he spectacularly and tragically mismanages. Unable to perform on a theatrical stage as a professional actor, the Clown Prince bitterly play acts anyway, turning all situations into opportunities of pretend play rather than effective political action. In consequence he wastes tactical advantages over his enemies, endangers himself, and jeopardizes his revenge plan, if ever there was one. Histrionic Hamlet should be of interest to students of Shakespeare, theater practitioners, and anyone interested in human dysfunctional and maladaptive behavior.




Catalogue of Copyright Entries


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