Literature in Art Books

Not only a creative idea, but one that combines natures ultimate creativity, with the creativity of a literary Master. Fascinating, well written book, full of photographs and sketches.

This book is an excellent, and largely unbiased, discussion of CALIBAN (the character from Shakespeare's The Tempest) and traces the evolution of his perception as reflected in literary criticism, culture/politics, theatrical performance (stage and film), poetry, and visual art. An actor myself, when doing research on Shakespeare roles, the most efficient technique I've found is investigation of stage history. Most of the relevant literary criticism has at one time or another been reflected in stage history. Also, stage history is something I find more easily applicable to performance than literary criticism--for obvious reasons. In light of this bias, the only disappointment I had in the book is that I would have liked a longer chapter on stage history. Nonetheless, as the book surveys CALIBAN's history from so many perspectives, one comes away with a strong appreciation of the wide range of exploration available in playing CALIBAN. The numerous black & white figures are an added plus. Finally, any actor playing CALIBAN and hard-pressed to find research time would do well to at least read the chapter on scriptural analysis relevant to CALIBAN and the final chapter, which summarizes the entire book. Directors and designers would benefit from perusal of this text; however, the book does stick fairly close to its subject of CALIBAN, specifically, rather than The Tempest, in general. To close, Shakespearean actors would certainly benefit from more character-specific surveys like this book.

As Shewmaker points out, the reader of Shakespeare is often stymied by unfamiliar, archaic, or confusing words in the texts of the great master, and if footnotes are given, they are often at the rear of the book, disrupting the reader's concentration and making difficult what should be a pleasure.
The editor/compiler has consulted the leading texts and interpreters to provide 15,000 of these words and phrases to include the definition, the quote placing it in context, geographical references, foreign-language expressions, and the mythological allusions which are so much a part the richness of Shakespeare's works and our cultural heritage.
Highly recommended as the essential companion for anyone seeking the immeasurable pleasures of Shakespeare.
(The numerical rating above is a default setting within Amazon's format. This reviewer does not employ numerical ratings.)

Of the many, many thousands of books about Shakespeare, "how many have said something which is both new and true? Not many." (Prof. Lawrence Stone, Princeton Univ.) Prof. Stone goes on to say that this is such a book and so it is. I couldn't agree more. What Kernan does is to concentrate on the later stage of Shakespeare's career, when his company of players became the "King's Men," with King James I himself as official patron. Having obtained the best acting company and playwright for himself, James saw to it that his queen and two offspring at court each had their own acting company, so that the royal family supported four different groups of actors and playwrights. The support was substantial... a performance at the Globe might net a pound or so as total income, whereas James dispensed lump-sum payments of 10, 20 or even 30 pounds for a weekend of palace performances by the King's Men.

Kernan places Shakespeare's plays of the period within the context of James I's background, interests and enthusiasms. He also places the plays in the larger context of patronage art. Kernan writes both for scholars and the general public, and his writing style maintains high levels of clarity and even of crafted artistry.

The book is simultaneously information-packed, plentiful with new insights, and soundly based in scholarship. Shakespeare, as one of the greatest artists of all time, did not write "for" James I, in any blatantly obvious way (as some other playwrights of the period made the grave mistake of doing), but there is no way to understand the themes and situations of the plays Shakespeare wrote during this period, without an understanding of James I.

My highest recommendation.

'Shame in Shakespeare discovers at the heart of the great tragedies a confrontation with the most complex and disconcerting of human emotions. This groundbreaking study transforms one's understanding of works of which
one rarely expects to learn anything new. It does so not only because of the originality of its subject, but also because it owes nothing to modishness and everything to the critical acuity of its author.'

This readable book tells the stories of hope and giftedness in a small, urban, poor church. These stories will stick with you and you will find yourself re-telling them as parables of the vitality of the church. The premise of these stories is that everyone - really everyone- no matter what "needs" they have - walks in the door with something to give to the greater community. You'll remember Adele, who came to the food pantry for help and ended up as a caterer; Bill, Aaron and Marie, who started Pictures of Hope to use the talent of youth to create a photographic portrait of the richness of the neighborhood; Rob, who came to help in a community where his brother was murdered... Not only is it theologically correct to look for these gifts, the small church cannot afford to overlook these valuable resources (their greatest resource). When people challenge you to prove why you need a church, why not just be a solitary person of faith - this small book provides strong parables to answer that strength lies in a community of faith.

I was so relieved to find this book and really get into the new generation of theatre works using AIDS as a theme. An avid supporter of RENT and everything it had accomplished I was ready for a fresh new approach to the topic. Fabulous collection.

Finding effective resources for writing teachers is not an easy task. Spear's text is invaluable for the writing instructor who wishes to truly engage students in meaningful peer revision. The first third of the text is a little slow, but sets you up for the real helpful strategies that follow. I have applied what she proposes in my writing classes and I am pleased with the positive results. A must buy for writing teachers.

This book is a breathtaking creative approach to Bible stories. We have taken it very slowly as a family since our only child is only 2 - but he is captivated, and I'm enthralled, and Daddy says let's read more. As animals present at different events in the Bible share the story from their perspective, the stories are made fresh, your heart is left pounding, as you encounter the beauty and power of God and the gospel again. This book will be part of our read-aloud library for many years to come!

For many years , the quality of the moment has fascinated me. I think Peter Brook probably started it for me with his Theory of Filling the Empty Space.
Over the years, through my association with Buddhism and Hinduism, I grew even more aware of this power , and the enrichment of life through being fully aware of the beauty of a moment.
But I had honestly never associated it with Still life in the Art form. I just love the way this theme of "creative tension between object as timeless presence and the object as emblematic of change" is explored and linked through
the web of literature and images.

With her delicate touch and sincerity, she has opened another layer of beauty and it is reflected in each page. I also particularly like the fact that each image is reproduced in black and white.. such clarity. I often tire of the
coloured image presented in art books.. for they vary so much. For example one of my favourite Matisse's is Harmony in Red. and I have seen reproductions of that background ranging from pink in my major art book to all shades of red imaginable !

I can't comment on the translations But I do love the choice of poems and literature. The Match by Ponge intrigues me. I feel I have read that poem before but I don't see how I could have ! It has a metaphyiscal quality in its images which come across in the translation so I can only assume it is of excellent quality in translation. I lack the ability to read and write French. But this was at no stage a hindrance.
The author states at the conclusion, that her aim " is to move still life to the foreground" . For me. she has done more than this. Still Life has been transformed with a universal dimension. A dimension of beauty which all great aesthetic works be it literature , drama. poetry or art share. She explores every nuance and lets each page resonate with its beauty.