Bøger af Patricia Parker

Este "Primer Diario de Gratitud" está diseñado para ayudar a los niños a ver que existen ambas cosas, "expresiones" de gratitud y "sentimientos" asociados con gratitud. El llevar un diario empodera a los niños a conectarse con su vida autentica, aumenta los sentimientos de pertenencia, el pensamiento creativo, les enseña conceptos duraderos de por vida, habilidades y pueden construir su auto estima. La 1. Este "Primer Diario de Gratitud" está diseñado para ayudar a los niños a ver que existen ambas cosas, "expresiones" de gratitud y "sentimientos" asociados con gratitud. El llevar un diario empodera a los niños a conectarse con su vida autentica, aumenta los sentimientos de pertenencia, el pensamiento creativo, les enseña conceptos duraderos de por vida, habilidades y pueden construir su auto estima. La gratitud es la forma más alta de los pensamientos...el cultivar expresiones y sentimientos de gratitud es el más grande regalo que le puede dar a un niño.

"What does the keyword "continence" in Love's Labor's Lost reveal about geopolitical boundaries and their breaching? What can we learn from the contemporary identification of the "quince" with weddings that is crucial for A Midsummer Night's Dream? How does the evocation of Spanish-occupied "Brabant" in Othello resonate with contemporary geopolitical contexts, wordplay on "Low Countries," and fears of sexual/ territorial "occupation"? How does "supposes" connote not only sexual submission in The Taming of the Shrew but also the transvestite practice of boys playing women, and what does it mean for the dramatic recognition scene in Cymbeline? With dazzling wit and erudition, Patricia Parker explores these and other critical keywords to reveal how they provide a lens for interpreting the language, contexts, and preoccupations of Shakespeare's plays. In doing so, she probes classical and historical sources, theatrical performance practices, geopolitical interrelations, hierarchies of race, gender, and class, and the multiple significances of "preposterousness," including reversals of high and low, male and female, Latinate and vulgar, "sinister" or backward writing, and latter ends both bodily and dramatic."--

Have you ever wondered where to begin when working with tiny glass beads to make designs inspired by nature? This book provides word charts and graphics to help you to learn the stitching needed to create three dimensional seed bead flowers. The earlier projects with smaller blossoms become the foundation for the larger blooms. Each design is illustrated with step-by-step drawings easily assisting you in making a beautiful beaded bouquet.

What does the keyword "continence" in Love''s Labor''s Lost reveal about geopolitical boundaries and their breaching? What can we learn from the contemporary identification of the "quince" with weddings that is crucial for A Midsummer Night''s Dream? How does the evocation of Spanish-occupied "Brabant" in Othello resonate with contemporary geopolitical contexts, wordplay on "Low Countries," and fears of sexual/territorial "occupation"? How does "supposes" connote not only sexual submission in The Taming of the Shrew but also the transvestite practice of boys playing women, and what does it mean for the dramatic recognition scene in Cymbeline?With dazzling wit and erudition, Patricia Parker explores these and other critical keywords to reveal how they provide a lens for interpreting the language, contexts, and preoccupations of Shakespeare''s plays. In doing so, she probes classical and historical sources, theatrical performance practices, geopolitical interrelations, hierarchies of race, gender, and class, and the multiple significances of "preposterousness," including reversals of high and low, male and female, Latinate and vulgar, "sinister" or backward writing, and latter ends both bodily and dramatic.Providing innovative and interdisciplinary perspectives on Shakespeare, from early to late and across dramatic genres, Parker''s deeply evocative readings demonstrate how easy-to-overlook textual or semantic details reverberate within and beyond the Shakespearean text, and suggest that the boundary between language and context is an incontinent divide.

Arguing that attention to Shakespearean wordplay reveals unexpected linkages, not only within and between plays but also between the plays and their contemporary culture, this book combines feminist and historical approaches with attention to the "matter" of language as well as of race and gender.