Learn how our most abundant poet and dramatist has been moving, delighting, and enlightening readers and audiences for 400 years, with no end in sight.Lecture Titles:1. Shakespeare Then and Now2. The Nature of Shakespeare's Plays3. Twelfth Night—Shakespearean Comedy4. Twelfth Night—Malvolio in Love5. The Taming of the Shrew—Getting Married in the 1590s6. The Taming of the Shrew—Farce and Romance7. The Merchant of Venice—Courting the Heiress8. The Merchant of Venice—Shylock9. Measure for Measure—Sex in Society10. Measure for Measure—Justice and Comedy11. Richard III—Shakespearean History12. Richard III—The Villain's Career13. Richard II—The Theory of Kingship14. Richard II—The Fall of the King15. Henry IV—All the King's Men16. Henry IV—The Life of Falstaff17. Henry V—The Death of Falstaff18. Henry V—The King Victorious19. Romeo and Juliet—Shakespearean Tragedy20. Romeo and Juliet—Public Violence and Private Bliss;21. Troilus and Cressida—Ancient Epic in a New Mode22. Troilus and Cressida—Heroic Aspirations23. Julius Caesar—The Matter of Rome24. Julius Caesar—Heroes of History25. Hamlet—The Abundance of the Play26. Hamlet—The Causes of Tragedy27. Hamlet—The Protestant Hero28. Othello—The Design of the Tragedy29. Othello—“O Villainy!”30. Othello—“The Noble Moor”31. King Lear—“This Is the Worst”32. King Lear—Wisdom Through Suffering33. King Lear—“Then We Go On”34. Macbeth—“Fair Is Foul”35. Macbeth—Musing on Murder36. Macbeth—“Enter Two Murderers”

    Rethinking the usage guide for the twenty-first century, Pinker doesn’t carp about the decline of language or recycle pet peeves from the rulebooks of a century ago. Instead, he applies insights from the sciences of language and mind to the challenge of crafting clear, coherent, and stylish prose. In this short, cheerful, and eminently practical book, Pinker shows how writing depends on imagination, empathy, coherence, grammatical knowhow, and an ability to savor and reverse engineer the good prose of others. He replaces dogma about usage with reason and evidence, allowing writers and editors to apply the guidelines judiciously, rather than robotically, being mindful of what they are designed to accomplish. Filled with examples of great and gruesome prose, Pinker shows us how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right.

    Burke contributes an introductory and summarizing remark, "What is involved, when we say what people are doing and why they are doing it? An answer to that question is the subject of this book. The book is concerned with the basic forms of through which, in accordance with the nature of the world as all men necessarily experience it, are exemplified in the attributing of motives. These forms of though can be embodied profoundly or trivially, truthfully or falsely. They are equally present in systematically elaborated or metaphysical structures, in legal judgments, in poetry and fiction, in political and scientific works, in news and in bits of gossip offered at random."

    Forster's Aspects of the Novel is an innovative and effusive treatise on a literary form that, at the time of publication, had only recently begun to enjoy serious academic consideration. This Penguin Classics edition is edited with an introduction by Oliver Stallybrass, and features a new preface by Frank Kermode.First given as a series of lectures at Cambridge University, Aspects of the Novel is Forster's analysis of this great literary form. Here he rejects the 'pseudoscholarship' of historical criticism - 'that great demon of chronology' - that considers writers in terms of the period in which they wrote and instead asks us to imagine the great novelists working together in a single room. He discusses aspects of people, plot, fantasy and rhythm, making illuminating comparisons between novelists such as Proust and James, Dickens and Thackeray, Eliot and Dostoyevsky - the features shared by their books and the ways in which they differ. Written in a wonderfully engaging and conversational manner, this penetrating work of criticism is full of Forster's habitual irreverence, wit and wisdom.In his new introduction, Frank Kermode discusses the ways in which Forster's perspective as a novelist inspired his lectures. This edition also includes the original introduction by Oliver Stallybrass, a chronology, further reading and appendices.E. M. Forster (1879-1970) was a noted English author and critic and a member of the Bloomsbury group. His first novel, Where Angels Fear To Tread appeared in 1905. The Longest Journey appeared in 1907, followed by A Room With A View (1908), based partly on the material from extended holidays in Italy with his mother. Howards End (1910) was a story that centered on an English country house and dealt with the clash between two families, one interested in art and literature, the other only in business. Maurice was revised several times during his life, and finally published posthumously in 1971.If you enjoyed Aspects of the Novel, you might like Forster's A Room with a View, also available in Penguin Classics.

    Now you can learn the basics of jazz and its history in a course as free-flowing and original as jazz itself. Taught by Professor Bill Messenger of the Peabody Institute, the lectures in this course are a must for music lovers. They will have you reaching deep into your own music collection and going straight out to a music store to add to it. Professor Messenger has spent his life in music as student, teacher, and professional musician. He has studied and lectured at the famed Peabody Institute and written an acclaimed book on music activities aimed at older adults. And as a pianist, he has: Played in ragtime ensembles, swing bands, Dixieland bands, and modern jazz groups Been a successful studio musician in the early days of rock 'n' roll Accompanied performers as renowned as Lou Rawls and Mama Cass Elliot Opened for Bill Haley and the Comets. So it is no wonder that the course he has created is so thorough and enjoyable. Lectures, Piano, and Guest Performers It's a rich mix of jazz, its elements, era, and practitioners. Professor Messenger frequently turns to his piano to illustrate his musical points, often with the help of guest performance artists and lots of original music. The lectures follow the story of jazz in its many shapes, including: Ragtime The blues The swing music of the big band era Boogie-woogie Big band blues The rise of modern jazz forms: bebop, cool, modal, free, and fusion. Cakewalks, Vaudeville, and Swing Beginning with the music and dance of the antebellum plantation, Professor Messenger reveals how the "cakewalks" of slave culture gave birth to a dance craze at the 19th century's end that was ignorant of its own humble roots. He considers how minstrel shows, deriving from Southern beliefs that held black culture to be decidedly inferior, eventually created a musical industry that African American musicians would dominate for decades to come. You will learn how and why jazz, a difficult genre to define, was central to the music they created. Roots in Ragtime Professor Messenger explains how jazz was born-or conceived-in the ragtime piano tunes of turn-of-the-century America. Together with the Dixieland funeral music of New Orleans, this new, "syncopated" music popularized a sound that took America's vaudeville establishments by storm. Professor Messenger notes that ragtime's most popular composer, Scott Joplin, at first resisted the new craze. But after becoming intrigued by that "ragged" sound at the Chicago World's Fair of 1893, he became the writer of the most memorable rags ever, including "Maple Leaf Rag" and "The Entertainer." Drawing on the blues, an emotional but harmonically simple music, jazz was ensconced as a popular genre in the American psyche by the 1920s. The Surprising Origin of the "St. Louis Blues" One interesting story about the blues covered in the course concerns W. C. Handy, a man often referred to as the "father of the blues." As Professor Messenger reveals that, in truth, Handy didn't like the blues very much and wasn't convinced the public would buy it. It was only after he saw a band of blues players literally showered with money after a performance that he began writing the music in earnest. Handy was at the same World's Fair Joplin attended, and he heard a song he later arranged into what became the famous "St. Louis Blues." Professor Messenger points out, nothing about the song was original; it was a melting pot of many influences. The blues is, in his words, the "emotional germ of jazz." It is the place jazz always returns to when it veers too far into the abstract or academic. An Innovation that Changed Jazz Forever One of the most important events in the history of jazz, and all performance, was the invention of the microphone in 1924. Before the microphone, singers needed big voices to project their voices across large music halls, and the booming styles of performers such as Bessie Smith and Al Jolson met those requirements admirably. After the microphone, though, things were very different. The new invention did more than simply allow for the use of quieter instruments like the guitar and string bass. It also brought smaller-voiced singers-Bing Crosby, Mel Torme, Frank Sinatra, for instance-into the limelight. Into the 1930s and 40s, popular music became heavily arranged for bigger and bigger bands. By the time the swing era of America's big bands took hold around World War II, jazz had reached new popular heights. You will learn why swing became so popular-the syncopation and improvisation of early jazz, in the context of careful arrangements, combined planning and spontaneity in a unique way. Though not to be confused with the sound of competing society bands, swing music gave talents like Benny Goodman a chance to improvise within the framework of Top 40 hits.More than Swing The development of jazz into swing electrified popular music. You learn: How boogie-woogie, a precursor of rock 'n' roll that was primed with a heavy-handed, highly rhythmic style, found widespread success in the 1940s until its ubiquity forced it out of fashion How big band blues, where the simplicity of the blues standard was overlaid on the pop song, fused the worlds of folk art and high art How bebop-an austere, anxious music whose success was blazed by the genius of Dizzy Gillespie and Charlie Parker-worked against the commercial spread of swing How modern jazz spans everything-from the cool jazz of the 1950s to the fusion jazz of the 1990s, with several stops in between. Music for Today In recent decades many forms of modern jazz-including cool, modal, free, and fusion-have had their devoted following. All serve to prove that jazz is a generic music that comprises many varieties. True to its name, jazz has defied definition, category, and stagnation. And this course-in toe-tapping, finger-snapping ways-will feed your intellectual curiosity and appreciation.

    Essential reading for students and anyone interested in the great philosophers, this book opens up appreciation of Heidegger beyond the study of philosophy to the reaches of poetry and our fundamental relationship to the world. Featuring "The Origin of the Work of Art," a milestone in Heidegger's canon, this enduring volume provides potent, accessible entry to one of the most brilliant thinkers of modern times.

    Here, collected for the first time, are his famous lectures, which include Mansfield Park, Bleak House, and Ulysses. Edited and with a Foreword by Fredson Bowers; Introduction by John Updike; illustrations.

    Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by", metaphors that can shape our perceptions and actions without our ever noticing them.In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.

    How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world’s greatest playwright.

    For example, the matter that comprises all stars, planets, and living things turns out to be just a fraction of what actually exists. Moreover, we think that we control our actions, but data analytics can predict, with astonishing accuracy, when we will wake up, what we will buy, and even whom we will marry.The quest to pin down what's real and what's illusory is both philosophical and scientific, a metaphysical search for ultimate reality that goes back to the ancient Greeks. For the last 400 years, this search has been increasingly guided by scientists, who create theories and test them in order to define and redefine reality. And we have developed the power to alter our own reality in major ways - to defeat diseases, compensate for disabilities, and augment our intellect with computers. Where is that trend going?Experience the thrill of this exciting quest in 36 wide-ranging lectures that touch on many aspects of the ceaseless search for reality. From the birth of the universe to brain science, discover that separating the real from the illusory is an exhilarating intellectual adventure.Scientists and philosophers are not alone in grappling, at an intellectual level, with reality. Some of the most accessible interpretations are by painters, novelists, filmmakers, and other artists whose works not only draw on the latest discoveries but also sometimes inspire them. Explore examples such as Alice in Wonderland, pointillism, cubism, surrealism, and reality TV.And since dealing with reality is an experience we all share, this course is designed for people of all backgrounds.

    In this exhilarating followup, Nafisi has written the book her fans have been waiting for: an impassioned, beguiling and utterly original tribute to the vital importance of fiction in a democratic society. What Reading Lolita in Tehran was for Iran, The Republic of Imagination is for America. Taking her cue from a challenge thrown to her in Seattle, where a skeptical reader told her that Americans don’t care about books the way they did back in Iran, she challenges those who say fiction has nothing to teach us. Blending memoir and polemic with close readings of her favorite American novels—from Huckleberry Finn to The Heart Is a Lonely Hunter—she invites us to join her as citizens of her "Republic of Imagination," a country where the villains are conformity and orthodoxy, and the only passport to entry is a free mind and a willingness to dream.

    These 24 thought-provoking lectures offer you the chance to reflect on some of the most powerful moral issues we face in our daily lives: Is it ever OK to lie? What are our moral obligations to others? What is the key to living the good life? From Plato to Kant to Bonhoeffer, you'll see how some of the world's greatest thinkers from across the ages have approached similar problems. Professor Martin provides a complete picture of various ethical schools and approaches and applies this rich philosophical overview to "case studies" relevant to our contemporary lives. You'll explore all the ins and outs of issues such as business ethics, love and marriage, privacy and technology, genetic engineering, animal rights, and much more. Engaging stories and thought experiments bring these issues to life, showing what different philosophical theories have to say about real-world ethical dilemmas. According to Professor Martin, the trick is to understand that the mind is like a parachute; it only works when it's open. Rather than take a side in any particular debate, this course provides a framework for thinking through a host of debates and dilemmas from all sides. Through it all, Professor Martin is a sympathetic guide, helping you think through some of our most complex decisions.

    His writings had a potency that was irresistible to the intellectual scene that swept post-war Europe, and have left a vital inheritance to contemporary thought. The central tenet of the Existentialist movement which he helped to found, whereby God is replaced by an ethical self, proved hugely attractive to a generation that had seen the horrors of Nazism, and provoked a revolution in post-war thought and literature. In What is Literature? Sartre the novelist and Sartre the philosopher combine to address the phenomenon of literature, exploring why we read, and why we write.

     Great writing begins with the sentence. Whether it’s two words (“Jesus wept.”) or William Faulkner’s 1,287-word sentence in Absalom! Absalom!, sentences have the power to captivate, entertain, motivate, educate, and, most importantly, delight. Yet, the sentence-oriented approach to writing is too often overlooked in favor of bland economy. Building Great Sentences teaches you to write better sentences by luxuriating in the pleasures of language. Award-winning Professor Brooks Landon draws on examples from masters of long, elegant sentences—including Don DeLillo, Virginia Woolf, Joan Didion, and Samuel Johnson—to reveal the mechanics of how language works on thoughts and emotions, providing the tools to write powerful, more effective sentences.

    Discover the secrets behind the words in our everyday lexicon with this delightful, informative survey of English, from its Germanic origins to the rise of globalization and cyber-communications. Professor Curzan approaches words like an archaeologist, digging below the surface to uncover the story of words, from the humble "she" to such SAT words as "conflagration" and "pedimanous." In these 36 fascinating lectures, you'll discover the history of the dictionary and how words make it into a reference book like the Oxford English Dictionary; survey the borrowed words that make up the English lexicon; find out how words are born and how they die; expand your vocabulary by studying Greek and Latin "word webs"; and revel in new terms, such as "musquirt," "adorkable," and "struggle bus." English is an omnivorous language and has borrowed heavily from the many languages it has come into contact with, from Celtic and Old Norse in the Middle Ages to the dozens of world languages in the truly global 20th and 21st centuries. You'll be surprised to learn that the impulse to conserve "pure English" is nothing new. In fact, if English purists during the Renaissance had their way, we would now be using Old English compounds such as "flesh-strings" for "muscles" and "bone-lock" for "joint." You may not come away using terms like "whatevs" or "multislacking" in casual conversation, but you'll love studying the linguistic system that gives us such irreverent - and fun - slang, from "boy toy" to "cankles."