In this stimulating survey of the entire field of modern English verse drama, William Butler Yeats and T.S. Eliot are regarded as the key figures. Shorter studies are included of Christopher Fry, E.E. Cummings, W.H. Auden, Archibald MacLeish, Ezra Pound, Wallace Stevens, and Richard Eberhart. Differing from some contemporary critics, Mr. Donoghue believes that verse drama is a major creative art-form of our literature, with a vigorous present and promise of a vital future. In a persuasive and perceptive exposition of this belief, he considers such questions as the nature of dramatic verse, the mood play, the relation between dramatic verse and the behavior of speech, the necessity of distinguishing between "verse drama" and “poetic drama” or “theatre poetry.” Originally published in 1963. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

What makes for powerful preaching? Careful exegesis, logical structure, interesting illustrations, and clear speech can all help. But truly transformative preaching depends on divine power, not human skill alone. Those who would reduce preaching to simple systems or sure-fire strategies for success will find little of interest here. Instead, this book appeals to those (pastors and academics alike) who find themselves confounded by the occasional futility of their best preaching and the unexpected success of their worst. It invites readers to enter more deeply into the uncontrollable mystery that attends all efforts to speak in the name of Christ, above all on the topic of resurrection. Although the gospel always turns our attention to the crucified and risen Lord, preaching about resurrection calls us to trust that the same God who raised Jesus from death will likewise grant life to us as preachers, to our sermons, and to our hearers alike. Drawing on resources as diverse as Luther’s understanding of the Christian gospel, Speech Act theory, and Bhabha’s concept of “Third Space,” Third Voice: Preaching Resurrection argues that the true key to effective preaching is not rhetoric, but spirituality.

The incomprehensible nature of the sublime emerges through a cast of personalities including Eartha Kitt, Geordi LaForge, Immanuel Kant, W. E. B. Du Bois, Malcolm X and the book's central character, Lacy Neva Igga, an American Studies professor who lives as a minstrel character trapped inside the head of a nameless woman. Kocher uses what T. S. Eliot called the "third voice" of lyric drama as a means for characters to address and interrogate literary culture. Third Voice asserts lyric beyond personal expression and drama beyond the stage, using the spectacle of minstrelsy as a deformation of mastery in an audaciously conceptual yet visceral performance.--Provided by publisher.

Samira is dead. She died last night. But now she is looking down over the roofs of Marseille. She remembers how he strangled her, how he bashed in her skull with an ashtray. How he cut off her head and buried her body in six different places. She hopes someone will find her ... some day. Olivia Ronning is still struggling to come to terms with her brutal entry into the world. Cut from the womb of her murdered mother, with only seconds to spare, she is left with haunting dreams, brutal feelings and guilt. From now on she has resolved to rely solely on herself, and she will restyle herself Olivia Riviera - in homage to her dead mother.

Is Your Voice Telling on You? How to Find and Use Your Natural Voice, Third Editionis designed to help the reader find and use his or her natural voice and appreciate the effect of emotions on voice. It is also a useful tool for both vocal coaches and speech-language pathologists who work with patients with voice disorders. The reader will find that some emotions heard in our voices, such as anger or fear, can be reduced or eliminated by making some simple vocal changes. This user-friendly third edition includes self-tests and vocal exercises and addresses various topics: practical methods for increasing breath control with specific guidelines for increasing loudness and voice projection, voice management tips for women who have high demands on their voice, steps for increasing the friendliness of one's voice, exercises that increase voice efficiently with sharper voice focus, and biological and environmental tips to help professional voice users maintain optimal voicing under demanding conditions. New features include: Voice changes to hide negative emotionsTips to increase the friendliness of one's voiceTechniques for a more masculine or feminine voiceRecommendations for recovering from the tired voiceManagement practices for people who have high voice demands (such as teachers and sales people)Ten steps for finding and keeping the voice you want and need

Get the Knowledge Without the College! You are a writer. You dream of sharing your words with the world, and you're willing to put in the hard work to achieve success. You may have even considered earning your MFA, but for whatever reason--tuition costs, the time commitment, or other responsibilities--you've never been able to do it. Or maybe you've been looking for a self-guided approach so you don't have to go back to school. This book is for you. DIY MFA is the do-it-yourself alternative to a Master of Fine Arts in creative writing. By combining the three main components of a traditional MFA--writing, reading, and community--it teaches you how to craft compelling stories, engage your readers, and publish your work. Inside you'll learn how to: • Set customized goals for writing and learning. • Generate ideas on demand. • Outline your book from beginning to end. • Breathe life into your characters. • Master point of view, voice, dialogue, and more. • Read with a "writer's eye" to emulate the techniques of others. • Network like a pro, get the most out of writing workshops, and submit your work successfully. Writing belongs to everyone--not only those who earn a degree. With DIY MFA, you can take charge of your writing, produce high-quality work, get published, and build a writing career.