The Devil's Charter

The Devil's Charter

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Devil Theatre

Demonic Possession and Exorcism in English Renaissance Drama, 1558-1642

Devil Theatre

Representations of demonic possession and exorcism rituals abound in English Renaissance drama, an area which this book seeks to illuminate by comparison with non-dramatic works. The author investigates stage images of possession in relation to a range of early modern demonological, theological and medical prose texts on the subject, looking specifically at how the theatre responded to these texts. He argues that the theatre also employed the contemporary controversy over possession and exorcism to investigate the politics of religion, and to consider the nature of monarchic power. Moreover, because demonic possession cases and exorcism rituals were frequently dismissed by conformist writers as a piece of theatre, they offered an opportunity to reflect on the nature of drama and role-playing. JAN FRANS VAN DIJKHUIZEN is lecturer and research fellow at the University of Leiden.

The Devil Is An Ass

The Devil Is An Ass

This edition contains an introduction which looks at the special place of the play in Jonson's own life, his interest in London, the theatrical setting of the play and its sources and analogues. It also includes critical and explanatory commentaries and a glossarial index.

The Staging of Witchcraft and a “Spectacle of Strangeness”

The Staging of Witchcraft and a “Spectacle of Strangeness”

The Staging of Witchcraft and a "Spectacle of Strangeness": Witchcraft at Court and the Globe presents a new interest in Continental texts on witchcraft coincided with technological advances in the English stage, which made a variety of dramatic effects possible in the private playhouses, such as flying witches, and the appearance of spirits and deities in Elizabethan plays. This book also evaluates how the technology of the Blackfriars playhouse facilitated the appearance of spirits, devils, witches, magicians, deities and dragons on stage. The study investigates the visual spectacle of witchcraft scenes which intersect with the genre of the plays, and it also presents to what extent changing theatrical tastes affect the way that supernatural characters are shown on stage.

The Devil's Knee

The Devil's Knee

The Devil's Knee: In the eighteen years that have passed since they were last seen, Larry "Tunafish" Tunig and Simon "Bull" Bronstien have left their criminal careers behind and have been living the quiet life in Mexico City. "Bull," overcome by remorse for past misdeeds, has sought solace in religion, changing his name back to Simon, growing a beard and attending daily services at the local synagogue. But the mob won't leave them alone. Larry and Simon are recalled from Mexico and moved into a Beverly Hills mansion, where Larry is to preside as the fourth husband of Joyce Adams, once a Las Vegas whore, now the widow of the mob's big boss. Larry's assignment: to keep cops and reporters from snooping around. But how do you stay inconspicuous when your new stepdaughter is becoming one of the nation's leading rock stars, your pacifist buddy has attacked and maimed an anti-Semitic orator in the street, and a contingent of tommygun-wielding mobsters has just prevented three drug-crazed hippies from blowing up your house?

The Devil's Teeth

A True Story of Obsession and Survival Among America's Great White Sharks

The Devil's Teeth

A journalist's obsession brings her to a remote island off the California coast, home to the world's most mysterious and fearsome predators--and the strange band of surfer-scientists who follow them Susan Casey was in her living room when she first saw the great white sharks of the Farallon Islands, their dark fins swirling around a small motorboat in a documentary. These sharks were the alphas among alphas, some longer than twenty feet, and there were too many to count; even more incredible, this congregation was taking place just twenty-seven miles off the coast of San Francisco. In a matter of months, Casey was being hoisted out of the early-winter swells on a crane, up a cliff face to the barren surface of Southeast Farallon Island-dubbed by sailors in the 1850s the "devil's teeth." There she joined Scot Anderson and Peter Pyle, the two biologists who bunk down during shark season each fall in the island's one habitable building, a haunted, 135-year-old house spackled with lichen and gull guano. Two days later, she got her first glimpse of the famous, terrifying jaws up close and she was instantly hooked; her fascination soon yielded to obsession-and an invitation to return for a full season. But as Casey readied herself for the eight-week stint, she had no way of preparing for what she would find among the dangerous, forgotten islands that have banished every campaign for civilization in the past two hundred years. The Devil's Teeth is a vivid dispatch from an otherworldly outpost, a story of crossing the boundary between society and an untamed place where humans are neither wanted nor needed.

All The Devils Are Here

Unmasking the Men Who Bankrupted the World

All The Devils Are Here

According to Bethany McLean and Joe Nocera, two of America's most acclaimed business journalists, no-one has put all the pieces of the financial crisis together. The finger was pointed at greedy traders, cowardly legislators and clueless home buyers, but many devils helped bring hell to the economy. All The Devils Are Here goes back several decades to explore the motivations of everyone from CEOs and politicians to anonymous lenders, borrowers and Wall Street traders. It exposes the hidden role of companies including AIG and Goldman Sachs. It delves into the powerful mythology of homeownership. And it proves that the crisis ultimately wasn't about finance at all; it was about human nature. Bethany McLean's The Smartest Guys in the Room was the best Enron book on a crowded shelf. All the Devils Are Here will be remembered for finally making sense of the meltdown.

Barker's continuation of Egerton's Theatrical Remembrancer, Baker's Biographia Dramatica, &c., containing a complete list of all the dramatic performances ... from 1788 to 1801 ... Also a continuation of the Notitia Dramatica ... To which is added, a Complete List of Plays, the earliest date, size, and author's name, ... to 1801. The whole arranged, &c., by W. C. O. MS. notes

Barker's continuation of Egerton's Theatrical Remembrancer, Baker's Biographia Dramatica, &c., containing a complete list of all the dramatic performances ... from 1788 to 1801 ... Also a continuation of the Notitia Dramatica ... To which is added, a Complete List of Plays, the earliest date, size, and author's name, ... to 1801. The whole arranged, &c., by W. C. O. MS. notes