Elena Moreau lebt zwei Leben: Tagsuber ist sie die perfekte Assistentin eines Milliardars, nachts wird sie zur exklusiven Escort-Dame Violet - gefangen in einem Netz aus Schulden, Lugen und der Sehnsucht nach einem echten Leben.
Eine Frau die fruh ihren Mann verlor, und sich in den Kopf gesetzt hat, dass sie sobald wie moglich zu ihrem geliebten Mann komme, um mit ihm weiter zu Leben.
Nordseekrimi - Blutiges Watt: Todesnebel uber SyltIm ersten Fall der frisch versetzten Hauptkommissarin Sara Westphal wird die scheinbar makellose Fassade der Insel Sylt vom Nebel zerschnitten: Im Morgengrauen liegt die einflussreiche Galeristin Astrid Munchow tot im Watt.
This compelling argument for the link between Calvinism in English religious life and the rise of tragedy on the Elizabethan stage draws on a variety of material, including theological tracts, sermons, and dramatic works beginning with sixteenth-century morality plays and continuing through Marlowe's career and the beginning of Shakespeare's.
Through careful attention to the contexts of Renaissance culture invoked by the language, action, and visual spectacle in Measure for Measure, Darryl Gless brings a new and original interpretation to one of Shakespeare's most problematic plays.
A "e;symbolist"e; approach has dominated Shakespearean criticism for many years, but Ruth Nevo believes that the emphasis on static and pictorial aspects has obscured the essentially dynamic nature of dramatic expression and this study of the development of Shakespeare's tragic form is offered to correct the imbalance.
Joseph Wittreich reveals Samson to be an intensely political work that reflects the heroic ambitions and failings of the Puritan Revolution and the tragic ambiguities of the era.
In their lectures on King Lear, the eight contributors to this volume fulfill Shakespeare's rigorous injunction to Speak what we feel"e; about the playwright's amplest tragedy.
This book is a study of Ben Jonson's relationship with his audience in the public theater, as the relationship changed in the course of his career from the comical satires to Bartholomew Fair.
If Shakespeare's last plays-Pericles, Cymbeline, The Winter's Tale, The Tempest, and Henry VIII-are to be neither debunked nor idealized but taken seriously on their own terms, they must be examined within the traditions and conventions of romance.
Drawing on recent advances in historical knowledge, the author describes contemporary attitudes toward issues such as rebellion, conscience, regicide, incest, retribution, and mourning.
Shakespeare's texts are seen by the poet and critic Michael Goldman as designs for theatrical experience-the complex emotional, physical, and intellectual transaction between actor and audience that brings alive Shakespeare's imagination and makes it immediate to our own.
Shelley's tragedy, The Cenci, has been regarded as an avant-garde attack on orthodox Christian principles, a celebrated cause for Victorian intellectuals, a vehicle for innovative minds of the theater, a historical oddity, a neglected masterpiece.
Ranging over all the dramatic genres in the Shakespearean canon, this book focuses on plays where medieval drama most clearly illuminates Shakespeare's treatment of political power and social privilege.
Instead of seeing Terence primarily as an adapter of Greek New Comedy, Sander Goldberg treats him as an innovative dramatist writing for a specifically Roman audience.
Affecting audiences with depictions of suffering and injustice is a key function of tragedy, and yet it has long been viewed by philosophers as a dubious enterprise.
The seventeenth-century English collaborative authors Francis Beaumont and John Fletcher were not only the most popular playwrights of their day but also literary figures highly esteemed by the great critics of the age, Jonson and Dryden.
By means of a cross-cultural analysis of selected examples of early Japanese and early Greek drama, Mae Smethurst enhances our appreciation of each form.
