The book is a compilation of different erudite articles already published by the author in various scholarly journals and other edited volumes. The essays are a study and an enquiry into a variety of dramaturgical methods and processes that contribute to the theatrical dynamics of the Shakespeare plays. All the articles are concerned with the art of playmaking, with an examination of the tools and devices used by Shakespeare which contribute to the dramatic life of the play but also articulate the moral and sociocultural ideas of the time. There has not been much critical work in this area before and the book is one of the first of its kind. The book unravels the function and effect of many poetic, rhetorical, topological, visual and theatrical devices which Shakespeare exploits in his plays for a dramatic effect. Together, the essays present an idea of the multidimensional totality of theatre language and communication which Shakespeare achieves through a masterful orchestration of dramatic resources. The book will be of immense value to students, scholars and researchers in the fields of theatre techniques and art, literature in general and drama in particular.

Madhu Natisar Nath is a Rajasthani farmer with no formal schooling. He is also a singer, a musician, and a storyteller. At the center of A Carnival of Parting are Madhu Nath's oral performances of two linked tales about the legendary Indian kings, Bharthari of Ujjain and Gopi Chand of Bengal. Both characters, while still in their prime, leave thrones and families to be initiated as yogis—a process rich in adventure and melodrama, one that offers unique insights into popular Hinduism's view of world renunciation. Ann Grodzins Gold presents these living oral epic traditions as flowing narratives, transmitting to Western readers the pleasures, moods, and interactive dimensions of a village bard's performance. Three introductory chapters and an interpretive afterword, together with an appendix on the bard's language by linguist David Magier, supply A Carnival of Parting with a full range of ethnographic, historical, and cultural backgrounds. Gold gives a frank and engaging portrayal of the bard Madhu Nath and her work with him. The tales are most profoundly concerned, Gold argues, with human rather than divine realities. In a compelling afterword, she highlights their thematic emphases on politics, love, and death. Madhu Nath's vital colloquial telling of Gopi Chand and Bharthari's stories depicts renunciation as inevitable and interpersonal attachments as doomed, yet celebrates human existence as a "carnival of parting."

The South Asian languages, mainly Indo-Aryan and Dravidian, have become a focus of interest in the formal study of language as a natural consequence of the research program of the Principle and Parameters approach and an enforced interest in exploring the parametrical space of human language. The contributions to the present volume combine theoretical reasoning in syntax and phonology with a comparative research agenda in which South Asian languages figure prominently. The topics range from issues of clause structure, serial verb constructions, cleft- and question formation, to the question of what the proper syntactic format of modification should be, issues of binding theory and raising, and issues of complementation, the clausal periphery and clausal typing. The collection of articles concludes with two chapters on Dravidian and comparative phonology and a chapter on the shaping of phonological awareness by different writing systems. The authors and the editors devote this piece of work to Professor K.A. Jayaseelan, one of present-day India s most influential linguists.

This Volume Goes On To Free Sashi Deshpande`S Work From A Reading Confined Only To The Woman Question And Opens It Out To Aesthetic Evaluations And Sociocultural Histories.

In the Spring of 19- I took a sabbatical from the University of C-, over-the-seas branch, Kawagawa, Cipan where I had been working towards the postponement of a doctoral degree in the dual fields of comparative histrionics and cryptophilology. The cause of my departure: that I would pursue an ancillary degree elsewhere, although some may have observed that I had rather quietly suffered a nervous breakdown. The simple, more economical pretext, however, was that I was maddeningly overworked and shamefully underemployed. Repatriated, I finally took a job in S. Hollywood with a talent agency founded by a wealthy, enlightened Japanese autodidact of Western Culture, or "Sei Bun" as Kennichi-"Ken" to his friends-Chibita-"Chibi" by the same friends-liked to call it, who claimed, but could never quite document, a connection with his own royal family. Ken had entered the film business with the intention of "Making Movies That Make The Differences And Represent A Goal Of Universal Culture," a letterhead slogan that fell just short of the felicitous. He idolized the silver-screen impresario Alexandr Korda, and would have emulated him. Accordingly, Kenchan had acquired a reputation for his readiness to buy, at cut-rate prices, the rights to stories or, should we say, fragments of stories, incomplete or in a state of hopeless disarray, ones such as other agencies would have refused as unrepresentable. In principle we operated much like corporate marauders, but in the reverse: We bought up under-producing literary properties and then reassembled them into "marginally" profitable entities.