Kamis, 29 April 2010

[M207.Ebook] Free PDF Idle Threats: Men and the Limits of Productivity in Nineteenth Century America (America and the Long 19th Century), by Andrew Lyndon Knigh

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Idle Threats: Men and the Limits of Productivity in Nineteenth Century America (America and the Long 19th Century), by Andrew Lyndon Knigh

The 19th century witnessed an explosion of writing about unproductivity, with the exploits of various idlers, loafers, and “gentlemen of refinement” capturing the imagination o fa country that was deeply ambivalent about its work ethic. Idle Threats documents this American obsession with unproductivity and its potentials, while offering an explanation of the profound significance of idle practices for literary and cultural production. �While this fascination with unproductivity memorably defined literary characters from Rip Van Winkle to Bartleby to George Hurstwood, it also reverberated deeply through the entire culture, both as a seductive ideal and as a potentially corrosive threat to upright, industrious American men. Drawing on an impressive array of archival material and multifaceted literary and cultural sources, Idle Threats connects the question of unproductivity to other discourses concerning manhood, the value of art, the allure of the frontier, the usefulness of knowledge,the meaning of individuality, and the experience of time, space, and history. Andrew Lyndon Knighton offers a new way of thinking about the largely unacknowledged “productivity of the unproductive,” revealing the incalculable and sometimes surprising ways in which American modernity transformed the relationship between subjects and that which is most intimate to them: their own activity.

  • Sales Rank: #6947615 in Books
  • Published on: 2012-10-22
  • Released on: 2012-10-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .75" w x 5.98" l, .0 pounds
  • Binding: Hardcover
  • 272 pages

Review
"Knighton's arguments about the imperatives attached to the conduct of capitalist time- posed through readings of literary and visual culture- ground a theoretical inquiry into the impossibility of posing a demand for more robust productivity without invoking the specter of its opposite: idleness."-Dana D. Nelson,Journal of American History

"Critics and readers often speak of literary works. �And while a lot of energy has been expended on pondering the qualities and attributes that make something literary, comparatively little consideration has been given to exploring why it is commonplace to speak of textual artifact as a 'work....' �Though Andrew Lyndon Knighton's Idle Threats: Men and the Limits of Productivity in Nineteenth-Century America�does not necessarily examine these implied protocols, it does dwell on the economic and aesthetic imperatives to transform leisure and repose into productive experience."-Russ Castronovo,The New England Quarterly

“With wit and sophistication, Andrew Knighton engages familiar writing by Irving, Thoreau, Melville, and Gilman and others in a fresh critical and theoretical inquiry into the experiences of time and space that continue to define capitalist modernity.”-Thomas Augst,New York University

"Knighton traces these tensions through a variety of cultural forms, beginning with the literary and extending through landscape painting; narratives of the western frontier, along with associated developments in urban and regional planning; and works in popular physiology and political economy...he deftly traces the development of the concept of repose as a counterpoint to labor and an antidote to the sheer productivity now viewed as the hallmark of both the age and the estimable man."�-American Literature

About the Author
Andrew Lyndon Knighton is Associate Professor of English at California State University, Los Angeles.

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Jumat, 23 April 2010

[W793.Ebook] Ebook Free Deadwood (Vintage Contemporaries), by Pete Dexter

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Deadwood (Vintage Contemporaries), by Pete Dexter

DEADWOOD, DAKOTA TERRITORIES, 1876: Legendary gunman Wild Bill Hickcock and his friend Charlie Utter have come to the Black Hills town of Deadwood fresh from Cheyenne, fleeing an ungrateful populace. Bill, aging and sick but still able to best any man in a fair gunfight, just wants to be left alone to drink and play cards. But in this town of played-out miners, bounty hunters, upstairs girls, Chinese immigrants, and various other entrepeneurs and miscreants, he finds himself pursued by a vicious sheriff, a perverse whore man bent on revenge, and a besotted Calamity Jane. Fueled by liquor, sex, and violence, this is the real wild west, unlike anything portrayed in the dime novels that first told its story.

  • Sales Rank: #175989 in eBooks
  • Published on: 2013-11-06
  • Released on: 2013-11-06
  • Format: Kindle eBook

From Library Journal
In 1876 William "[Buffalo] Bill" [Hickok] and Charley Utter rode into Deadwood, a hellish frontier settlement in the Black Hills. Bill died there, victim of a possibly demented assassin. Fortunately, this is mostly the story of his constant companion, Charley, a man of sapient insight and, though less famous than his friend, of extensive and varied experience. Charley, Bill, their acquaintance the Bottle Fiend, and later Bill's widow Agnes and mourner Calamity Jane saw some remarkable things in Deadwood and raised considerable Cain. By turns heroic, ludicrous, vicious, pathetic, and infuriating, the exotic citizens of Deadwood grab the reader's interest immediately and never let go. Highly recommended for its deadpan, offbeat, credible frontier anarchy. Edwin B. Burgess, U.S. Army TRALINET Ctr., Fort Monroe, Va.
Copyright 1986 Reed Business Information, Inc.

Review
“If you want to call Deadwood a Western, you might as well call The House of Mirth chick lit.�Dexter looked at the dark, twisted, ridiculous doings of Bill Hickok and company, said to himself, ‘I recognize that!’ and gave us a world-class entertainment.” —Jonathan Franzen, author of The Corrections“Unpredictable, hyperbolic and, page after page, uproarious; a joshing book written in high spirits and a raw appreciation of the past.” --The New York Times Book Review“Splendid. . . . Rumor put straight. . . . A carefully researched knitting of events into their most dazzling fabric.” --The Philadelphia Inquirer“Deadwood may well be the best western ever written.” —The Washington Post Book World"What deepens and darkens [Dexter's] writing, so that art is the precise word to describe it, is a powerful understanding that character rules, that we live with our weaknesses and die of our strengths." --Time"Dexter is a master of colloquial poetry, of moods revealed through gestures and settings." --Playboy "One of the greatest American writers... a storyteller who cuts straight to the nerve." --Scott L. Turow"Dexter's strongest suit is his exquisite understanding of the finely meshed engines of greed, appetite, and interest." --The New York Times Book Review"Great, eccentric characters....Dexter's writing is a living thing." --USA Today

From the Inside Flap
DEADWOOD, DAKOTA TERRITORIES, 1876: Legendary gunman Wild Bill Hickcock and his friend Charlie Utter have come to the Black Hills town of Deadwood fresh from Cheyenne, fleeing an ungrateful populace. Bill, aging and sick but still able to best any man in a fair gunfight, just wants to be left alone to drink and play cards. But in this town of played-out miners, bounty hunters, upstairs girls, Chinese immigrants, and various other entrepeneurs and miscreants, he finds himself pursued by a vicious sheriff, a perverse whore man bent on revenge, and a besotted Calamity Jane. Fueled by liquor, sex, and violence, this is the real wild west, unlike anything portrayed in the dime novels that first told its story.

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53 of 56 people found the following review helpful.
Pin Drop
By vanishingpoint
... How come the Wild West is so ...calm in this novel, you ask? Simple. Dexter chooses Charlie Utter as the central character, Bill Hickok's stoic, aloof partner, and it is he and his restrained wit that serves as backbone to this wonderful novel.

The book is split into four parts: Bill, The China Doll (a beautiful Chinese ..), Agnes (Lake, Bill's wife), and Jane (Calamity). Bill is gone by the end of his section, which surprised me because I thought this book was about Wild Bill. It is and it isn't. He isn't physically around after the first part, but his legend is everywhere, and it runs through the book.

I've read Paris Trout and Brotherly Love from Pete Dexter before, and enjoyed this one the most, for it is the funniest. Sometimes it's ha-ha funny; other times it's more reflective. It's a fine book, one that makes me wish Dexter will go back to novel writing soon.

14 of 14 people found the following review helpful.
Pete Dexter's Best?
By Amazon Customer
If you're a fan of Pete Dexter you've no doubt read everything the man has written. However, if you are unfamiliar with this superb writer and in dire need of something with more substance than your average N.Y Times bestseller list fare, please jump in. Regardless of whether you're a "western" aficinado or not this is a stunning work. Mr. Dexter's abilities with language and character place him in the highest echelon of current authors. If someone (Mr. D.?) could lovingly transcribe this into a multi-part television movie a la "Lonesome Dove" I could die happy.

25 of 28 people found the following review helpful.
Deadwood
By Douglas S. Wood
Pete Dexter's Deadwood hews closely to historical reality. The characters are there from the well-known Wild Bill Hickok and Calamity Jane Cannary to the lesser known but vital Charlie Utter, Hickok's widow, Agnes Lake, the China Doll, and a host of others. The events are there from the murder of Hickok to the great Deadwood fire. Are the characters drawn accurately? It seems so - certainly more accurately than the HBO series of the same name (You won't find HBO's Al Swearengen in Dexter's pages).

Much of the book is taken up with tortured internal dialogues, especially of Hitchcock's buddy Charlie Utter. Many of the characters are at least half insane and in poor Jane's case, well over half. Cruelty is the rule not the exception. Dexter's `Deadwood' is an unhappy place.

By the way, according to a story from the Rapid City Journal newspaper posted on the web page `Deadwood Discovered, the HBO series is not based on Dexter's book and Dexter says he does not watch the show - his loss in my opinion.

Highly recommended.

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Rabu, 21 April 2010

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“Dr. Kirchmayrs� book, International Structured Trade & Commodity Finance “STCF”, is a comprehensive state-of-the art introduction to STCF. By using a thoroughly analytical approach, the author succeeds in providing in depth insights into both the fundamentals and the techniques of STCF. A number of carefully selected case studies, based on the author�s ample professional experience in this field, give the reader a step by step insight as to how STCF problems can be dealt with and solved in practice. Those readers less familiar with International Trade will welcome supplementary chapters on commodity markets, INCOTERMS, documentary credit techniques, hedging and other technicalities required for successfully managing STCF.
The admirably well written monograph truly fills a gap in a hitherto regrettably neglected area of managerial decision making: It can be warmly recommended to all practitioners as well as to those academics working in the field.”

o.Univ.Prof. Dr. Edgar Topritzhofer
Vienna University of Economics and Business Administration


“This book combines theory and practice in an easily understandable way and gives an excellent overview of the variety of financial solutions in commodity trade finance to both experts and newcomers.“

Dr. Angelo Rizzuti
Global Head of Structured Trade & Export Finance - Unicredit Group


"I strongly recommend subject monograph to the participants at all levels of the "STCF - Circle of Opportunity", and particularly to those who want to play a more important role. To those, who want to delve into this area, I encouraged you to not only read “STCF - Circle of Opportunity”, but to discuss and share the specific topics with their colleagues."

Univ.Prof. Dr. Aleksej Evgenevich Nikiforov
CFO - Byelorussian Steel Works



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Dr. Jugendra Raghav-Singh
Chairman of the Stork Group

  • Sales Rank: #1213080 in eBooks
  • Published on: 2010-09-07
  • Released on: 2010-09-07
  • Format: Kindle eBook

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  • Published on: 1900
  • Binding: Mass Market Paperback

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Kamis, 08 April 2010

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Until the Beginning (After the End), by Amy Plum

Amy Plum, internationally bestselling author of the Die for Me series, delivers a heart-pounding adventure perfect for fans of Michael Grant, Veronica Rossi, and Alexandra Bracken. Until the Beginning is the sequel to After the End, which Marie Lu, New York Times bestselling author of the Legend series and the Young Elites series, called “wonderfully riveting.” In this stunning and exhilarating conclusion to the duology, Juneau has been searching for her people and for answers . . . and she is about to find both.

When Juneau’s clan disappeared, she lost so much more than her friends and family. She soon discovered everything she thought she knew about her life was a lie. Her people’s gifts were actually secret abilities that others wanted, desperately enough to kidnap an entire village.

Juneau set off on a cross-country journey with her new companion, Miles, to find her clan, which led them to a game preserve in New Mexico. Now Juneau’s people are finally within reach, and she will stop at nothing to save them. But she has a target on her back too, because unbeknownst to her she is the key to unlocking everything. To rescue her people—and herself—Juneau must discover what she and her abilities are truly capable of.

  • Sales Rank: #252196 in Books
  • Published on: 2016-05-03
  • Released on: 2016-05-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .79" w x 5.31" l, .0 pounds
  • Binding: Paperback
  • 352 pages

Review
“Plum keeps tension high as she follows Juneau across the country, mixing in enough romantic spice to satisfy genre fans.” (Kirkus Reviews)

“A satisfying conclusion.” (ALA Booklist)

“There is not a dull page to be found, as action, adventure and romance abound. This heart-pounding book will take you on a journey that you will never want to end.” (Romantic Times)

PRAISE FOR AFTER THE END:“Wonderfully riveting. A fascinating twist on the apocalypse, and a reminder that things aren’t always as they seem.” (Marie Lu, New York Times bestselling author of the Legend series)

“Exciting and tense! Prepare for the unexpected! You’ll stay up all night with this one!” (Sophie Jordan, New York Times bestselling author of the Firelight series and Uninvited)

“Amy Plum creates a chilling world where the stakes are high and no one can be trusted. After the End will leave you breathless!” (Kimberly Derting, author of the Body Finder series)

“Misunderstandings and betrayals abound as Juneau and Miles set off on a road trip through the West, coming to appreciate each other in a slow-moving, believable romance.” (Publishers Weekly (starred review))

“This fast-paced adventure novel pulses with magic, romance, and one humdinger of a cliff-hanger.” (ALA Booklist)

“The fast-paced plot, rife with mystery, successfully moves the story forward. Fans of post-apocalyptic fiction will enjoy this unusual not-quite-dystopian novel with a dose of corporate espionage. And the cliff-hanger ending will leave them eager for future installments.” (School Library Journal)

“Attractive characters and the fresh, present-day setting should hook genre fans.” (Kirkus Reviews)

PRAISE FOR THE DIE FOR ME SERIES “I devoured this lush, mysterious romance, which delivers a refreshingly human heroine alongside a hero truly deserving of the title.” (Aprilynne Pike, #1 New York Times bestselling author of the Wings series)

“Move over, Bella and Edward. Plum introduces a world and a story that are sure to intrigue teen readers and will easily attract fans of the Twilight series.” (ALA Booklist on Die for Me)

“The lush Parisian setting and gorgeous characters make this an immersing, franchise-ready story.” (Publishers Weekly)

“Plum’s debut is the perfect combo of romance and thrills, with heart-pumping action that will make you jump and love that will make you cry out for joy. You’ll hang on every word.” (Romantic Times)

“A fast-moving tale of star-crossed lovers.” (Voice of Youth Advocates (VOYA))

“Plum handles the intrigue and builds tension, ending with a major cliffhanger that should compel readers to the final book in the trilogy.” (Kirkus Reviews on Until I Die)

“The historical elements and the magic evoked by the Parisian setting work to paint a full landscape that has a deep otherworldly connection while remaining entirely ordinary in the very best way. The story’s twists and turns are well paced and will have readers captivated.” (School Library Journal on Until I Die)

“A swashbuckling final episode with plot twists and unexpected revelations.” (ALA Booklist on If I Should Die)

“Plenty of well-paced tension. The author keeps the narrative moving along at a sprightly pace and handles the suspense well.” (Kirkus Reviews on If I Should Die)

“This last book does not disappoint. Amy Plum is to be congratulated for her creation of the Revenants. It is a fresh and original mythology. It will be interesting to see what Amy Plum will come up with next.” (New York Journal of Books on If I Should Die)

From the Back Cover

"I have had a powerful weapon at my fingertips my whole life, but I'm finally learning to wield it. I feel unstoppable."

When Juneau's clan disappeared, she lost more than her friends and family; she lost her entire world. She discovered her life was a lie—her people weren't living in the wilderness because they were the sole survivors of a nuclear war. They were in hiding, hoping no one would find them and learn their secret: they never get sick, they hardly age, and they have the power to communicate with nature.

Juneau is closer than ever to finding them, and she couldn't have gotten this far without Miles. Although he originally pursued her with the goal of turning her over to his father, he has become her greatest ally. Even as an outsider, Miles has helped Juneau realize she is far more powerful than she'd ever believed.

But now the same people who took Juneau's clan are after her too. Somehow she is the key to unlocking the mystery of her people's gifts. To rescue her clan and protect their secrets, Juneau must push past the boundaries of what she was taught, to discover what she is truly capable of.

About the Author

Amy Plum is the international bestselling author of After the End and the Die for Me series. She spent her childhood in Birmingham, Alabama, her twenties in Chicago and Paris, and several more years in London, New York, and the Loire Valley. Now she lives in Paris and swears she'll never move again.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Awesome finish to a great start...for a teen reading book.
By Allan T. Cordera
I really enjoyed the ending to this story; however, I wished it had gone a little more into the future..epilogue - one year later...then tell us. Unless you have read the first book, stop reading and go back and read it. There are way too many answers given to questions asked in the first book. A little more research on electric fences needed to be done, and I get it, it's fiction, but keep some semblance of real world. I really liked how the author closed the loop on everything in the story from the passage of right to the bad guys losing the war.

0 of 0 people found the following review helpful.
I hoped for more
By What's Beyond Forks?
This book takes off right where the last one ended. There is a lot of character change in this book. I can't just say character growth, although there was quite a bit of that too, but the characters themselves changed in many ways. I felt like there was a lot of the same in this book that we already had in the last book. It was still entertaining, but I was hoping for more.

0 of 0 people found the following review helpful.
Different than the first book
By avid reader
The first book in the series was more interesting for me, with much less romance and more insightful thinking. I cared about the characters in the first book, they seemed more real than in this one. Still, great premise

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Selasa, 06 April 2010

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  • Published on: 1600
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Selasa, 23 Maret 2010

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A Midsummer Night's Dream (Cambridge School Shakespeare), by William Shakespeare, Rex Gibson

An improved, larger-format edition of the Cambridge School Shakespeare plays, extensively rewritten, expanded and produced in an attractive new design. An active approach to classroom Shakespeare enables students to inhabit Shakespeare's imaginative world in accessible and creative ways. Students are encouraged to share Shakespeare's love of language, interest in character and sense of theatre. Substantially revised and extended in full colour, classroom activities are thematically organised in distinctive 'Stagecraft', 'Write about it', 'Language in the play', 'Characters' and 'Themes' features. Extended glossaries are aligned with the play text for easy reference. Expanded endnotes include extensive essay-writing guidance for 'A Midsummer Night's Dream' and Shakespeare. Includes rich, exciting colour photos of performances of 'A Midsummer Night's Dream' from around the world.

  • Sales Rank: #155791 in Books
  • Published on: 2014-01-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.69" h x .35" w x 7.44" l, .95 pounds
  • Binding: Paperback
  • 190 pages

Review

This edition of A Midsummer Night’s Dream is wonderfully lucid and thoughtful, offering supporting material that will appeal to readers from high school students to scholars. The introduction is especially thoughtful, offering, in addition to expected discussions of love, magic and imagination, an exploration of the theatrical history. The bibliography and filmography are both detailed and helpful, and the questions guide students to consider the play from many viewpoints without ever forcing an interpretation onto them.
- Annalisa Castaldo, Widener University



Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.

The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.

Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.

From the Publisher
An exciting new edition of the complete works of Shakespeare with these features: Illustrated with photographs from New York Shakespeare Festival productions, vivid readable readable introductions for each play by noted scholar David Bevington, a lively personal foreword by Joseph Papp, an insightful essay on the play in performance, modern spelling and pronunciation, up-to-date annotated bibliographies, and convenient listing of key passages.

From the Inside Flap
Magic, love spells, and an enchanted wood provide the materials for one of Shakespeare's most delightful comedies. When four young lovers, fleeing the Athenian law and their own mismatched rivalries, take to the forest of Athens, their lives become entangled with a feud between the King and Queen of the Fairies. Some Athenian tradesmen, rehearsing a play for the forthcoming wedding of Duke Theseus and his bride, Hippolyta, unintentionally add to the hilarity. The result is a marvelous mix-up of desire and enchantment, merriment and farce, all touched by Shakespeare's inimitable vision of the intriguing relationship between art and life, dreams and the waking world.
Each Edition Includes:
- Comprehensive explanatory notes
- Vivid introductions and the most up-to-date scholarship
- Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
- Completely updated, detailed bibliographies and performance histories
- An interpretive essay on film adaptations of the play, along with an extensive filmography

Most helpful customer reviews

49 of 54 people found the following review helpful.
Delightful after 400 years!
By Anne Wingate
http://www.amazon.com/gp/product/B000JMLOJU/ref=cm_cr_rev_prod_img

A piece of magic on the stage or screen--or on the electronic paper!

This is probably Shakespeare's most delightful comedy, and I'm glad I have read it in several editions and seen various versions of the play on large screen, small screen, and stage. I wish schools would teach this instead of trying to get the kids to understand Romeo and Juliet and Julius Caesar. Even if they don't understand this one, they can tell that it's fun and somewhat vulgar, with Bottom running around in an ass's head and the Queen of the Fairies falling in temporary love with him. "Fairy" might not yet have had its most recent meaning, but Bottom in an ass's head suggested exactly the same thing then that it suggests now

While I was getting my doctorate in English, my Shakespeare teacher worshiped Shakespeare instead of enjoying it for what it was worth. She almost went ballistic when somebody pointed out vulgarities and slapstick in the plays, because we too were supposed to worship Shakespeare instead of analyzing him. Sorry, but I was right and she was wrong. Shakespeare was a very bawdy writer, and he enjoyed being bawdy.

DO NOT see the movie Dead Poet's Society without reading or watching this play first.

27 of 29 people found the following review helpful.
Laugh out loud funny!
By A Customer
Okay, so maybe I'm not the world's greatest living expert on Shakespeare, considering the fact that, other than this, I have only read Romeo and Juliet. But hey, I thought it was great. Characters like Bottom and Robin Goodfellow were hilarious. Shakespeare seems to know how to make a tangled mess of everyone's lives very well. It amazes me his power to make that seem funny at times and then seem incredibly sad at others. I have to say, I really enjoyed this comedy better than his tragedy. I'm reading The Taming of The Shrew next. I don't know if I can handle Hamlet or Othello right now. By the way, if you're like me and you need someone to explain Shakespeare's language to you, I highly recommend the New Folger Library Copy with explanations on the opposite page.

20 of 21 people found the following review helpful.
Magical and funny play in a fine edition
By Craig Matteson
There are many reasons for the popularity of Shakespeare's "A Midsummer Night's Dream", not the least among them is the almost unique joining of the humorous misuse of language (by the tradesman actors) and the utter beauty of language and expression (by Puck, Oberon, and Titania). One usually gets a farce of language or an attempt at the sublime. Here the music of the two enriches both.

How can one put together these four disparate plotlines into such a wonderful whole? The quartet of lovers and their mixed and varied attentions forms the basis of the plot in the comedy and it is a delightful enough farce. The squabble of Demitrius and Lysander over Hermia while Helena pines over Demitrius, Oberon and Titania's argument over one of her servants and Oberon's use of Puck to manipulate Titania's affections including Puck's mistaken application of Oberon's potion to Lysander's eyes, the pending marriage of Thesus and Hippolyta, and the wonderfully, magically awful play being put on by the tradesman for the nobles. Putting all this into a wonderful whole is an achievement that I believe is unmatched.

I do want to say that this play has suffered a great deal in our sex obsessed age. We have foisted on this play an eroticism that it does not claim for itself nor display. While the "adult" couples (Thesus & Hippolyta, Oberon & Titania) interact and talk in ways that include that aspect of their lives, the youthful couples always talk and act in ways that are concerned with propriety and modesty. Bottom is hardly the lust blinded brute depicted in modern productions. He is much more interested in eating and chatting with his Fairy friends than Titania. It is Titania who is under the influence of the magic flower who is infatuated with Bottom while he remains quite oblivious to her desires.

In any case, this is a fine edition of the work with many helps for the reader. Almost half the book is filled with introductory essays that provide background on the play and its text. The play itself is full of notes to help the reader understand idioms and definitions of words that are obscure, unique to Shakespeare, or that have changed meaning since 1596. There are four Appendices that cover source materials for the play, realigned text that the editors believe were corrupted in the sources we have for the play and the last one is the prologue to the play that Peter Quince butchers to the amusement of the nobles. The appendix provides us with the prologue with correct punctuation, as Quince should have read it.

All the background material is interesting and enriches our understanding of the play. But it is the play that matters and is so much fun to read.

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