The lifetime work of Professor Alexander Schmidt of Königsberg, this book has long been the indispensable companion for every person seriously interested in Shakespeare, Renaissance poetry and prose of any sort, or English literature. It is really two important books in one.Schmidt’s set contains every single word that Shakespeare used, not simply words that have changed their meaning since the seventeenth century, but every word in all the accepted plays and the poems. Covering both quartos and folios, it carefully distinguishes between shades of meaning for each word and provides exact definitions, plus governing phrases and locations, down to the numbered line of the Cambridge edition of Shakespeare. There is no other word dictionary comparable to this work.Even more useful to the general reader, however, is the incredible wealth of exact quotations. Arranged under the words of the quotation itself (hence no need to consult confusing subject classifications) are more than 50,000 exact quotations. Each is precisely located, so that you can easily refer back to the plays or poems themselves, if you wish context.Other features helpful to the scholar are appendixes on basic grammatical observations, a glossary of provincialisms, a list of words and sentences taken from foreign languages, a list of words that form the latter part of word-combinations. This third edition features a supplement with new findings.

    Coleman, Omar Sakr, Future D. Fidel, Karen Wyld, Khalid Warsame, Kaya Ortiz, Roanna Gonsalves, Sarah Ross, Zoya Patel, Michelle Law and Hannah Donnelly. Edited by Michael Mohammed Ahmad. Original concept by Lena Nahlous.Published by Affirm Press in partnership with Diversity Arts Australia and Sweatshop Literacy Movement.

    "Horror stories of eating disorders, self-mutilation, abusive relationships floated across the page," Shandler writes of Pipher's book on adolescent girls. "Pipher equated our contemporary adolescent experiences to Shakespeare's ill-fated Ophelia." Shandler identified with the emotional experiences described in the book. "However," she explains, "I did not feel simply spoken to, I felt spoken for."With courage and unselfconscious audacity, Shandler decided to speak for herself. She had her friends write reflections on subjects such as eating disorders, sex, drugs, and child abuse, and scored a book deal. With the help of her publisher, HarperPerennial, Shandler sent queries for firsthand adolescent accounts to high school principals across the country, asking them to enlist the help of English teachers, parents associations, school psychologists, etc. (This letter appears as Appendix A in the book.) Not too shabby for a kid who only recently started getting serious about studying, and drinking lots of coffee.Ophelia Speaks: Adolescent Girls Write About Their Search for Self is the result of Sara Shandler's crusade. Her goal was to bring real voice to Reviving Ophelia. She succeeds. The voices are raw and young and jarring -- sometimes adult-like, sometimes childlike, and more often both, like Shandler's voice.Shandler introduces each chapter -- "Intoxication," "Rape and Sexual Abuse," "Questions of Faith," "Diverse Sexualities," "Mothers, Feminist Pride," etc.-- with personal anecdotes of her own. Through these introductions, it becomes clear that Shandler is like any modern American teenager: She has experimented lightly with drugs, had sex at an early age (one month shy of 15), is mildly infatuated with her weight, and was at one point pretty depressed (as in, the thought of suicide once crossed her mind). Pretty run-of-the-mill teen stuff. Somehow it is surprising that nothing "worse" ever happened to Shandler. It seems too simple that her only motivation to complete this project was to help other teens feel less alone. Then again, maybe it is too simple to think that all books of this kind must be written by damaged teens or once-damaged teens.By definition, Shandler's carefully selected contributions are young words for young ears. But they are also an intense reminder for older ears: When all you have lived is 16 years, thinking once of suicide feels like the biggest thing ever. This is not to belittle Shandler's impressive compilation or her honesty. She is very, very honest. In a chapter entitled "Broken-Hearted Independence," she explains how she got through the tragedy of breaking up with her first love. "[W]ith our separation I forced myself to face the dependence that left me alone and broken with our breakup. That confrontation was frightening. I was not brave in the usual sense. I cried often and hard. But instead of lonely isolation, I read and wrote and thought and thought. I buried myself in Virginia Woolf and Alice Walker, Margaret Atwood and Maya Angelou, Sylvia Plath and Toni Morrison, and I wondered why women I had never met knew me so well. With these women I was not so alone anymore."Each entry in this book is this bare, this open. Which is why Ophelia Speaks works as a book for teens by teens, but also as a tool for parents who want to know -- or remind themselves -- of what lies just around the corner. (Alexandra Zissu)

    Brown" and "Shakespeare in Love" "What the film Shakespeare in Love has done to make Shakespeare the man accessible to a general audience, this book will do to make Shakespeare the writer enjoyable." --Charlotte J.Headrick, PhD, Professor and Director, Theater Arts, Oregon State UniversityDoes the thought of sitting through A Midsummer Night's Dream give you nightmares? Did Romeo and Juliet seem like a foreign film--without the subtitles? As John Doyle and Ray Lischner prove in this uniquely accessible guide, Shakespeare is not only the greatest writer who ever lived, he's also a great entertainer--once you get a handle on his wild plots and witty wordplay. Under their guidance, you'll:Go inside an Elizabethan theater--and find out how they managed with almost no seats, no roof and no women onstage Get a handle on Shakespeare's language--including all those racy puns and jokes Maximize your enjoyment of his plays and poetry Identify contemporary idioms and phrases that come from Shakespeare's plays Find Shakespeare festivals and performances in your area Catch ten of the best show ever made of the Bard's plays and meet ten of the greatest Shakespearean actors of all time In simple, straightforward language, this friendly guide eases you into the wild, wonderful world of Shakespeare. With the help of snappy summaries and scorecards that help you keep track of who's who, who's in love with whom, and who's killed whom in every play, it helps you:Understand Shakespeare the person, his life and times and what makes him so special Make sense of Shakespearean language and why it sounds the way it does Get the inside track on the kinds of stories, characters and settings found in Shakespeare's plays Appreciate Shakespeare's sonnets and other non-dramatic poetry A royal feast for the head and heart, Shakespeare's works have been thrilling audiences for four centuries, as they will four hundred years from now. Now let Shakespeare For Dummies help you to enjoy one the world's great literary treasures.

    No Fear Shakespeare gives you the complete text of The Tempest on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains The complete text of the original play A line-by-line translation that puts Shakespeare into everyday language A complete list of characters with descriptions Plenty of helpful commentary

    American Studies, Social Studies

    In the same style as the best-selling Dreaming in Indian, #NotYourPrincess presents an eclectic collection of poems, essays, interviews, and art that combine to express the experience of being a Native woman. Stories of abuse, humiliation, and stereotyping are countered by the voices of passionate women making themselves heard and demanding change. Sometimes angry, often reflective, but always strong, the women in this book will give teen readers insight into the lives of women who, for so long, have been virtually invisible.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    In a series of first-person letters, essays, manifestos, and notes to the reader, Kim Stafford shows what might happen at the creative boundary he calls "what we almost know." On the boundary's far side is our story, our poem, our song. On this side are the resonant hunches, griefs, secrets, and confusions from which our writing will emerge. Guiding us from such glimmerings through to a finished piece are a wealth of experiments, assignments, and tricks of the trade that Stafford has perfected over thirty years of classes, workshops, and other gatherings of writers.Informing The Muses Among Us are Stafford's own convictions about writing--principles to which he returns again and again. We must, Stafford says, honor the fragments, utterances, and half-discovered truths voiced around us, for their speakers are the prophets to whom writers are scribes. Such filaments of wisdom, either by themselves or alloyed with others, give rise to our poems, stories, and essays. In addition, as Stafford writes, "all pleasure in writing begins with a sense of abundance--rich knowledge and boundless curiosity." By recommending ways for students to seek beyond the self for material, Stafford demystifies the process of writing and claims for it a Whitmanesque quality of participation and community.

    Surveying how the judiciary has changed since his 1981 appointment, he engages the issues at stake today, suggesting how lawyers should argue cases and judges decide them, how trials can be improved, and, most urgently, how to cope with the dizzying pace of technological advance that makes litigation ever more challenging to judges and lawyers.For Posner, legal formalism presents one of the main obstacles to tackling these problems. Formalist judges--most notably Justice Antonin Scalia--needlessly complicate the legal process by advocating canons of constructions (principles for interpreting statutes and the Constitution) that are confusing and self-contradictory. Posner calls instead for a renewed commitment to legal realism, whereby a good judge gathers facts, carefully considers context, and comes to a sensible conclusion that avoids inflicting collateral damage on other areas of the law. This, Posner believes, was the approach of the jurists he most admires and seeks to emulate: Oliver Wendell Holmes, Louis Brandeis, Benjamin Cardozo, Learned Hand, Robert Jackson, and Henry Friendly, and it is an approach that can best resolve our twenty-first-century legal disputes.

    actually being anti-racist). Confronting the sometimes uncomfortable questions feminism has made us ask about what’s going on FOR REAL paved the many paths that brought the contributors of this book together to share their sometimes uncomfortable truths, not just about feminism, but about who they are and where they are coming from.Against a backdrop exposing a 500+ year legacy of colonization and oppression, Feminism FOR REAL explores what has led us to the existence of “feminism”, who gets to decide what it is, and why. With stories that make the walls of academia come tumbling down, it deals head-on with the conflicts of what feminism means in theory as opposed to real life, the frustrations of trying to relate to definitions of feminism that never fit no matter how much you try to change yourself to fit them, and the anger of changing a system while being in the system yourself.

    This volume features photographs from the 1960s and from today, as well as jacket art from The Problem We All Live With, the 1964 painting by Norman Rockwell depicting Ruby’s walk to school.

    A town of spilled peaches fields its own game show. A mosquito fogger finds an unlikely friend. The stories in Mike Young's debut collection Look! Look! Feathers tap into the surreal and sad, the absurd and ragged dreams scratching at the edge of the American heart. Punks drive auctioned police cars, and necklaces of bluebird bones are sold from a roadside van. In these tales of the Pacific Northwest, Young finds magic burrowed under the moss of ordinary life.

    Born from a series of exhibitions and fueled by the power of social media (#blackimagination), the collection includes work from a range of voices who offer up powerful individual visions of happiness and safety, rituals and healing. Black Imagination presents an opportunity to understand the joy of blackness without the lens of whiteness.

    Hundert's Introduction places Mandeville in a number of eighteenth-century debates--particularly that of the nature and morality of commercial modernity--and underscores the degree to which his work stood as a central problem, not only for his immediate English contemporaries, but for such philosophers as Hume, Rousseau, and Kant. The selections are substantive enough to faithfully represent Mandeville the social theorist, and compact enough to be used in courses that can afford to spend no more than a week on his work.