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An anthology of plays from the Spanish Golden Age contains the full text of 15 plays; an introduction to each play with information about the author, the work, performance issues and current criticism; and glossaries with definitions of difficult words and concepts.
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Marcel Bénabou is quick to acknowledge that his own difficulty in writing has plenty of company. Words stick and syntax is stubborn, meaning slips and synonyms cluster. A blank page taunts and a full one accuses. Bénabou knows the heroic joy of depriving critics of victims, the kindness of sparing publishers decisions, and the public charity of leaving more room in bookstore displays. Why I Have Not Written Any of My Books (Pourquoi je n’ai écrit aucun de mes livres) provides both a respectful litany of writers’ fears and a dismissal of the alibis offered to excuse them.
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These stories, along with others, are randomly scattered among the pages of "Not the Eyes Again . . . & Other Irregularities," "The Devil in French . . . & Other Musings," "When It Was the War . . . & Other Conflicts," "Second Coming . . . & Other Upheavals," and "The View from Below & Other Reerings."
My story begins about 4 years ago when my grandson, Brandon, was restricted to a diet free of gluten, wheat, eggs, dairy, and peanuts. I was totally bewildered. How could I possibly cook properly for him and his family? I only remember once that I wept in my kitchen pantry out of frustration, but many times I felt that inadequate. Brandon's mom gave me a couple of recipes, which I prepared on every visit. I also had a house rule that no one was allowed to eat forbidden foods in his presence. I felt that I was doing all that I could until one innocent remark changed my life. We were in a grocery store and Brandon took my hand, led me to a display, and said longingly, "Look, Nana, those are called muffins". It brought tears to my eyes, and I vowed to myself that I would learn to cook delicious foods - gluten, wheat, dairy, egg, and peanut free. It has been a journey of trial and error. I cannot tell you that I have successes every time, but imagination and persistence has paid off. I have felt led to write this book, and it is my wish that it will help your family as much as it has helped mine. Barbara Wells
While many scholars have approached Don Juan in terms of myth, this study argues for the understanding of Don Juan as a discourse of gender relations, changing over time. Using examples from the plays by Tirso de Molina, Moliere, Mozart, Zorrila, Shaw and Frisch, it argues that Don Juan's entire identity as a male individual is constructed around women, but that over time - reflecting a growing sense of crisis in the male individual - the women appear more and more pathological in their desire for Don Juan. In contrast with early modern works where women fend for themselves in a positive manner, the heroines of later Don Juan works actively prey on the individual male.This book argues that these changes in approach to the female characters, and, in tandem, the developing identity of the male protagonist, suggest Don Juan as dischronic discourse rather than myth.
Cultures of the Fragment places fragments at the center of reading and non-reading uses of Iberian manuscripts. The book contests the notion that fragments came about accidentally, arguing that most fragments were created on purpose, as a result of a wide range of practical, intellectual and spiritual uses of manuscript material.