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Notes:

• A collection of original riddles making use of homographs, words that are spelled the same but have different meanings.

Subjects:

• Riddles, Juvenile.
• Puns and punning.
• Riddles.
• Puns and punning.
• English language — Homonyms.

Requested by Olson, V.

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Notes:

• Sixty-one original riddles created and illustrated by the author.

Subjects:

• Riddles, Juvenile.
• Riddles.

Requested by Olson, V.

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Notes:

• A collection of nursery rhymes includes such pieces as There was an Old Woman, Jack be Nimble, Hickory, Dickory, Dock, and Twinkle, Twinkle, Little Star.

Subjects:

• Nursery rhymes, English.
• Picture books for children.
• Nursery rhymes.

Requested by Olson, V.

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Notes:

• Latin Numbers is a work of performance history, examining the way in which Latino actors on the 20th century stage and screen communicated and influenced American ideas about race and ethnicity. Brian Eugenio Herrera looks at how these performances and performers contributed to American popular understanding of Latinos as a distinct racial and ethnic group. His book tracks the conspicuously Latin musical number the casting of Latino actors the history of West Side Story how Latina/o performers confront stereotypes and the proliferation of the gay Latino character in the AIDS era. With a flair for storytelling and a unique ability to see the deeper meanings embedded in popular culture, Herrera creates a history that will appeal to popular culture enthusiasts, theater aficionados, and those interested in the cultural history of Latinos. The book will also delight readers interested in the memorable (and many of the lesser-known) Latino performances on stage and screen. — Provided by publisher.
• Conga! Latin numbers and the good neighbor era — Stealth Latinos: casting the limits of racial legibility at midcentury — How the sharks became Puerto Rican — Executing the stereotype — Carlos comes out: gay Latin/o lovers in the AIDS era.
• Includes bibliographical references (page 225-241) and index.

Subjects:

• Hispanic Americans in the performing arts.
• Hispanic Americans — Ethnic identity.
• Hispanic Americans in popular culture.
• Hispanic Americans — Ethnic identity. fast (OCoLC)fst00957556
• Hispanic Americans in popular culture. fast (OCoLC)fst01903469
• Hispanic Americans in the performing arts. fast (OCoLC)fst00957630

Requested by Torres- Narvaez, B.

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Notes:

• The Philosophy of Poetry brings together philosophers of art, language, and mind to expose and address the array of problems poetry raises for philosophy. In doing so it lays the foundation for a proper philosophy of poetry, setting out the various puzzles and paradoxes that future work in the field will have to address. Given its breadth of approach, the volume is relevant not only to aesthetics but to all areas of philosophy concerned with meaning, truth, and the communicative and expressive powers of language more generally. Poetry is the last unexplored frontier in contemporary analytic aesthetics, and this volume offers a powerful demonstration of how central poetry should be to philosophy.
• Includes bibliographical references and index.
• Introduction: the place of poetry in contemporary aesthetics / John Gibson — Semantic finegrainedness and poetic value / Peter Lamarque — The dense and the transparent, reconciling opposites / Ronald de Sousa — Poetic opacity, how to paint things with words / Jesse Prinz and Eric Mandelbaum — Unreadable poems and how they mean / Sherri Irvin — Can an analytic philosopher read poetry? / Simon Blackburn — The spoken and the written, an ontology of poems / Anna Christina Soy Ribeiro — Poetry and truth / Roger Scruton — Poetry’s knowing, so what do we know? / Angela Leighton — Ethical estrangement, pictures, poetry, and epistemic value / Alison Denham — The inner paradise / Tzachi Zamir — To think exactly and courageously, poetry, Ingeborg Bachmann’s poetics, and her Bohemia poem / Richard Eldridge.

Subjects:

• Poetry — History and criticism — Theory, etc.
• Philosophy.

Requested by Kurpiers, R.

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Part of the series Cambridge companions to literature;Cambridge companions to literature.
Notes:

• This Companion offers the first systematic analysis of the representation of the body in literature. It historicizes embodiment by charting our evolving understanding of the body from the Middle Ages to the present day, and addresses such questions as sensory perception, technology, language and affect maternal bodies, disability and the representation of ageing eating and obesity, pain, death and dying and racialized and posthuman bodies. This Companion also considers science and its construction of the body through disciplines such as obstetrics, sexology and neurology. Leading scholars in the field devote special attention to poetry, prose, drama and film, and chart a variety of theoretical understandings of the body — Provided by publisher.
• Includes bibliographical references and index.
• Medieval somatics / Bill Burgwinkle — Disability / Jonathan Hsy — Staging early modern embodiment / David Hillman — Eating, obesity and literature / Maud Ellmann — The body and language / Andrew Bennett — The maternal body / Clare Hanson — Literary sexualities / Heike Bauer — The body, pain, and violence / Peter Fifield — The ageing body / Elizabeth Barry — Representing dead and dying bodies / Sander Gilman — The racialized body / David Marriott — Literature, technology and the senses / Steven Connor — Literature and neurology / Ulrika Maude — Psychoanalytic bodies / Josh Cohen — The body and affect / Jean-Michael Rabate — Posthuman bodies / Paul Sheehan.

Subjects:

• Human body in literature.
• Human body in motion pictures.
• Human body — Social aspects.
• Mind and body.
• Human body — History.

Requested by Swanson, K.

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Notes:

• Includes bibliographical references (pages 239-241).
• Preamble — Dogma and anti-dogma — If I were a flower, what kind of flower would I be? — Justice — What’s funny — Aristotle — Things — Sex and violence — Me me gab — Meanwhile back at the ranch — So alert a language — In other words — Neighborhoods — Childhood reading — Mentors in general, Peter Taylor in particular.
• For students and writers alike, a brilliant guide to the craft of writing by the National Book Award-winning author of Spartina. National Book Award winner John Casey is a masterful novelist who is also an inspiring and beloved teacher. In Beyond the First Draft he offers essential and original insights into the art of writing-and rewriting-fiction. Through anecdotes about other writers’ methods and habits (as well as his own) and close readings of literature from Aristotle to Zola, the essays in this collection offer suggestions about things to do, things to think about when your writing has got you lost in the woods. In Dogma and Anti-dogma Casey sets out the tried-and-true advice and then comments on when to apply it and when to ignore it. In What’s Funny he considers the range of comedy from pratfalls to elegant wit. In In Other Words he discusses translations and the surprising effects that translating can have on one’s native language. In Mentors he pays tribute to those who have guided him and other writers. Throughout the fourteen essays there are notes on voice, point of view, structure, and other crucial elements. This book is an invaluable resource for aspiring writers and a revitalizing companion for seasoned ones — Provided by publisher.

Subjects:

• Fiction — Authorship.
• Fiction — Technique.
• Creative writing.
• Fiction — History and criticism.
• Criticism, interpretation, etc. fast (OCoLC)fst01411635

Requested by Swason, K.

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Part of the series African expressive cultures;African expressive cultures.
Notes:

• Includes bibliographical references (pages 253-272) and index.
• Introduction: poetics of uncertainty — History and mediations in making theatre — Making culture : race, history, and a theory of performance in the Gold Coast colony — The national theatre movement : urban art infrastructures and a contested national culture in independence-era Accra — Revolutionary storytelling : Pan-African theatre and remaking lost futures in 1980s Ghana — A man of the people : Mohammed Ben Abdallah as artist-politician — Stagings in millennial Ghana — Total African theatre : language, reflexivity, and ambiguity in The witch of Mopti — The best tradition goes on : audience, consumption, and the structural transformation of Concert Party popular theatre — Fake pastors and real comedians : doubling and parody in miraculous, charismatic performance — Copying independence : backstage at the fiftieth-anniversary re-enactment of Nkrumah’s independence speech — Epilogue: unfreedom as critical theory.
• Trickster Theatre traces the changing social significance of national theatre in Ghana from its rise as an idealistic state project from the time of independence to its reinvention in recent electronic, market-oriented genres. Jesse Weaver Shipley presents portraits of many key figures in Ghanaian theatre and examines how Akan trickster tales were adapted as the basis of a modern national theatre. This performance style tied Accra’s evolving urban identity to rural origins and to Pan-African liberation politics. Contradictions emerge, however, when the ideal Ghanaian citizen is a mythic hustler who stands at the crossroads between personal desires and collective obligations. Shipley examines the interplay between on-stage action and off-stage events to show how trickster theatre shapes an evolving urban world. — Publisher’s description

Subjects:

• Theater — Ghana — History — 20th century.
• Theater and society — Ghana.
• Tricksters in literature.
• Ghana. fast (OCoLC)fst01208741
• 1900 – 1999 fast
• History. fast (OCoLC)fst01411628

Requested by Engen, D.

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Part of the series Directors’ Cuts;Directors’ cuts.
Notes:

• A Wallflower Press book.
• Includes bibliographical references, filmography, and index.
• Blood Simple: ‘It’s the same old song’ — Raising Arizona: a state of mind — Miller’s crossing: ‘a handsome movie about men in hats’ — Barton Fink: ‘for the common man’ — The Hudsucker Proxy: a comedy of reinvention — Fargo: in the land of tall tales — The Big Lebowski: ‘the dude abides’ — O Brother Where Art Thou?: the hayseed epic — The Man Who Wasn’t There: recreating classic film noir — No Country for Old Men: darkness in the new west — A Serious Man: parable and paradox — Conclusion: the ends of the auteur — Drawing conlcusions about Coen Brothers movies.
• The films of the Coen brothers have become a contemporary cultural phenomenon. Highly acclaimed and commercially successful, over the years their movies have attracted increasingly larger audiences and spawned a subculture of dedicated fans. Shunning fame and celebrity, Ethan and Joel Coen remain maverick filmmakers, producing and directing independent films outside the Hollywood mainstream in a unique style combining classic genres like film noir with black comedy to tell off-beat stories about America and the American Dream. This study surveys Oscar-winning films, such as Fargo (1996) and No Country for Old Men (2007), as well as cult favorites, including O Brother, Where Art Thou? (2000) and The Big Lebowski (1998). Beginning with Blood Simple (1984), it examines major themes and generic constructs and offers diverse approaches to the Coens’ enigmatic films. — Publisher description.

Subjects:

• Coen, Joel — Criticism and interpretation.
• Coen, Ethan — Criticism and interpretation.
• Motion picture producers and directors — United States.
• Motion pictures — Production and direction — United States.
• Coen, Ethan. fast (OCoLC)fst00226875
• Coen, Joel. fast (OCoLC)fst00230929
• Motion picture producers and directors. fast (OCoLC)fst01027225
• Motion pictures — Production and direction. fast (OCoLC)fst01027357
• United States. fast (OCoLC)fst01204155
• Coen, Ethan, 1957- (DE-588)120150689 gnd
• Coen, Joel, 1954- (DE-588)120150786 gnd
• Film. (DE-588)4017102-4 gnd
• Criticism, interpretation, etc. fast (OCoLC)fst01411635

Requested by Kurpiers, R.

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Part of the series Film & culture;Film and culture.
Notes:

• Video games, YouTube channels, Blu-ray discs, and other forms of new media have made theatrical cinema seem old. A sense of cinema lost has accompanied the ascent of digital media, and many worry film’s capacity to record the real is fundamentally changing. Yet the Surrealist movement never treated cinema as a realist medium and understood our perceptions of the real itself to be a mirage. Returning to their interpretation of film’s aesthetics and function, this book reads the writing, films, and art of Luis Buñuel, Salvador Dalí, Man Ray, André Breton, André Bazin, Roland Barthes, Georges Bataille, Roger Caillois, and Joseph Cornell and recognizes their significance for the films of David Cronenberg, Nakata Hideo, and Atom Egoyan the American remake of the Japanese Ring (1998) and a YouTube channel devoted to Rock Hudson. Offering a positive alternative to cinema’s perceived crisis of realism, this innovative study enriches the meaning of cinematic spectatorship in the twenty-first century.
• Includes bibliographical references (pages 219-236) and index.
• Introduction. Cinema as digital dream machine — Enlarged spectatorship : from realism to surrealism : Bazin, Barthes, and The (digital) sweet hereafter — Interactive spectatorship : gaming, mimicry, and art cinema : between Un chien andalou and eXistenZ — Globalized spectatorship : Ring around the superflat global village : J-horror between Japan and America — Posthuman spectatorship : the animal in You(Tube) : from Los olvidados to Christian the lion — Collaborative spectatorship : the surrealism of the stars : from Rose Hobart to Mrs. Rock Hudson — Afterword. Marking cinematic time.

Subjects:

• Motion picture audiences.
• Surrealism in motion pictures.
• Motion picture audiences. fast (OCoLC)fst01027116
• Surrealism in motion pictures. fast (OCoLC)fst01139549

Requested by Kurpiers, R.