Best known as one of the stars of the Fast Show(where he played characters such as Dave Angel -- Eco-Warrior, Tommy Cockles and Competitive Dad) and Bellamy's Peopleco-starring Paul Whitehouse, Simon Day tells the shocking, sometimes sad and hilariously funny story of his life so far. Simon Day's memoir is a story of unlikely successes and secret lives. In the early 1980s he was a petty thief living rough in South East London and stealing whatever he could to fund an addiction to fruit machines. He was arrested and sentenced to borstal. Simon's memoir tells the story of how this nice, middle-class boy from the suburbs -- a self-confessed 'crap criminal' -- served time with the professionals and hard-cases in a jail fiercely divided along racial lines during the height of the 1981 riots. It moves on to the lucky breaks, the talent getting recognised, the 'redemption' of his years as a celebrity . . . with the parallel story of his addiction which -- with money and success -- became fuelled by drugs. Dark and dramatic, Simon Day's memoir is a laugh-out-loud-funny story of drugs, crime and comedy.

A COFFEE TABLE BOOK YOUR SURE TO ENJOY! IT FITS ON ANY TABLE.

This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's The Comedy of Errors .This volume of critical essays also features a comprehensive critical history, a full bibliography, and photographs and reviews of major productions of the play around the world.

Shakespeare's dextrous comedy of two twin masters and two twin servants continually mistaken for one another is both farce and more than farce. The Comedy of Errors examines the interplay between personal and commercial relationships, and the breakdown of social order that follows the disruption of identity. As well as detailed on-page commentary notes, this new edition has a long, illustrated introduction exploring the play's performance and crtitical history, as well as its place in the comic tradition from Classical to modern times.

This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's A Comedy of Errors. Miola's edited work also features a comprehensive critical history, coupled with a full bibliography and photographs of major productions of the play from around the world. In the collection, there are five previously unpublished essays. The topics covered in these new essays are women in the play, the play's debt to contemporary theater, its critical and performance histories in Germany and Japan, the metrical variety of the play, and the distinctly modern perspective on the play as containing dark and disturbing elements. To compliment these new essays, the collection features significant scholarship and commentary on The Comedy of Errors that is published in obscure and difficulty accessible journals, newspapers, and other sources. This collection brings together these essays for the first time.

Presents a collection of essays discussing aspects of William Shakespeare's historical play, plus a summary of the play, key passages, characters and biographical information.

What does it mean to be human in modernity? This book examines being human, in its theoretical, practical, and productive aspects, not in abstraction from historical, social, and political settings, but rather as set in concrete historical and material circumstances. Through the analysis and close reading of a number of texts of the modern thinkers, which include those of Nietzsche, Dostoevsky, Tolstoy, Kracauer, Heidegger, Benjamin, Hans Jonas and Agnes Heller, it demonstrates that the complexity and variety of the human experience is grounded in the modern subjectivity, which establishes itself as universal, rational, autonomous, and necessary. Such a subjectivity is characterised as self-legislating or establishing the universal moral law and is further defined by historicity, or the interpretation of its actions as conditioned by the previous and current social and political circumstances. The book then shows that the multiple facets of modernity make the experience of being human fascinating, complicated and ultimately unique.

A new account of playgoing in Elizabethan England, in which audiences participated as much as performers. What if going to a play in Elizabethan England was more like attending a football match than a Broadway show—or playing in one? In Common Understandings, Poetic Confusion, William N. West proposes a new account of the kind of participatory entertainment expected by the actors and the audience during the careers of Shakespeare and his contemporaries. West finds surprising descriptions of these theatrical experiences in the figurative language of early modern players and playgoers—including understanding, confusion, occupation, eating, and fighting. Such words and ways of speaking are still in use today, but their earlier meanings, like that of theater itself, are subtly, importantly different from our own. Playing was not confined to the actors on the stage but filled the playhouse, embracing audiences and performers in collaborative experiences that did not belong to any one alone but to the assembled, various crowd. What emerged in playing was a kind of thinking and feeling distributed across persons and times that were otherwise distinct. Thrown apples, smashed bottles of beer, and lumbering bears—these and more gave verbal shape to the physical interactions between players and playgoers, creating circuits of exchange, production, and consumption.

Richard Janko's acclaimed translation of Aristotle's Poetics is accompanied by the most comprehensive commentary available in English that does not presume knowledge of the original Greek. Two other unique features are Janko's translations with notes of both the Tractatus Coislinianus, which is argued to be a summary of the lost second book of the Poetics, and fragments of Aristotle's dialogue On Poets, including recently discovered texts about catharsis, which appear in English for the first time.