'elegant reissue' -Plays International, Summer 2000'They are the wonderfully moving and amusing 'Sizwe Bansi is Dead',... 'The Coat' (previously unavailable), the urgently profound 'The Island'... Anyone interested in freedom or drama should buy this book.' Day by Day

In the late 1400s in eastern England, a scribe was in the process of compiling a large dramatic manuscript of over two hundred vellum folios. The manuscript contains components of an independent Mary Play, parts one and two of an independent Passion Play and an independent Assumption of Mary Play, as well as ten play subjects that appear in no other English cycles - the killing of Lamech in the Noah Play, the Root of Jesse, the story of Joachim and Anne, the Presentation of Mary in the Temple, the Parliament of Heaven, the Trial of Mary and Joseph, the scene of Mary and the cherry tree in the Nativity Play, the Death of Herod, the scene of Veronica's handkerchief in the Procession to Calvary, and the appearance of the risen Christ to the Virgin Mary in her Assumption Play. This edition acknowledges the N-Town compiler who took plays from various contexts and integrated them into an existing cycle of plays, thus treating the manuscript as if it were a superstructure whose parts could be replaced, renovated, and supplemented without altering the fundamental coherence of the overarching design.

This is the first book-length study of how point of view is manifested linguistically in dramatic texts. It examines such issues as how readers process the shifts in viewpoint that can occur within such texts. Using insights from cognitive linguistics, the book aims to explain how the analysis of point of view in drama can be undertaken, and how this is fruitful for understanding textual and discoursal effects in this genre. Following on from a consideration of existing frameworks for the analysis of point of view, a cognitive approach to deixis is suggested as being particularly profitable for explaining the viewpoint effects that can arise in dramatic texts. To expand on the large number of examples discussed throughout the book, the penultimate chapter consists of an extended analysis of a single play. This book is relevant to scholars in a range of areas, including linguistics, literary studies and cognitive science.

This collection examines the ways in which religion and literature are capable of renewing what the eminent German philosopher Jürgen Habermas refers to as 'the public sphere'. The essays range from close commentaries on particular texts ( King Lear, The Brothers Karamazov, 'Bartleby the Scrivener') to surveys of the careers of selected writers who have entered the public sphere (Elizabeth Gaskell, W.H. Auden, Raymond Carver, Sherman Alexie), to historical and theoretical examinations of various national and international public spheres.

The relationship between a town and its local institutions of higher education is often fraught with turmoil. The complicated tensions between the identity of a city and the character of a university can challenge both communities. Lexington, Kentucky, displays these characteristic conflicts, with two historic educational institutions within its city limits: Transylvania University, the first college west of the Allegheny Mountains, and the University of Kentucky, formerly "State College." An investigative cultural history of the town that called itself "The Athens of the West," Taking the Town: Collegiate and Community Culture in Lexington, Kentucky, 1880--1917 depicts the origins and development of this relationship at the turn of the twentieth century. Lexington's location in the upper South makes it a rich region for examination. Despite a history of turmoil and violence, Lexington's universities serve as catalysts for change. Until the publication of this book, Lexington was still characterized by academic interpretations that largely consider Southern intellectual life an oxymoron. Kolan Thomas Morelock illuminates how intellectual life flourished in Lexington from the period following Reconstruction to the nation's entry into the First World War. Drawing from local newspapers and other primary sources from around the region, Morelock offers a comprehensive look at early town-gown dynamics in a city of contradictions. He illuminates Lexington's identity by investigating the lives of some influential personalities from the era, including Margaret Preston and Joseph Tanner. Focusing on literary societies and dramatic clubs, the author inspects the impact of social and educational university organizations on the town's popular culture from the Gilded Age to the Progressive Era. Morelock's work is an enlightening analysis of the intersection between student and citizen intellectual life in the Bluegrass city during an era of profound change and progress. Taking the Town explores an overlooked aspect of Lexington's history during a time in which the city was establishing its cultural and intellectual identity.

Drawing on recent post-structuralist and cultural materialist concepts, Orkin (English, Witwatersrand U., South Africa) examines how South African drama over the past several decades has constructed the subject and the landscape, presented the body, and sometimes sought to define a national culture. He considers both individual playwrights and theatre companies. Distributed in Anglo-America by St. Martin's. Paper edition (unseen), $16.95. Annotation copyrighted by Book News, Inc., Portland, OR