The past generation has been an extraordinarily active one in medieval drama scholarship; our appreciation of the range of medieval drama has been significantly broadened, and our understanding of certain medieval genres—most notably, biblical drama—has been fundamentally altered. The Broadview Anthology of British Literature has been widely praised for the degree to which it has taken this scholarship into account in its selection of and presentation of medieval plays. Now Broadview launches a new anthology that takes those plays as its base while expanding very substantially beyond them to represent the full range of drama in English (and, where strong connections exist, in French, Latin, Cornish, and Welsh as well) through to 1576. In all, over forty plays are included. Each work has been fully annotated and is prefaced by a substantial introduction. In many cases the language is to some extent modernized in order to make the plays more accessible to readers today.

English drama between the late fifteenth century and the late sixteenth centuries is as diverse as it is engaging; this anthology brings together eighteen of the most interesting and important dramatic works from the period. The plays have been chosen to give a broad view of the drama produced in Tudor England. They testify to the eclectic tastes of sixteenth-century audiences, ranging from morality plays (Mankind, Everyman), to comedies inspired by the Roman plays of Terence and Plautus (Ralph Roister Doister), to tragedies inspired by the plays of Seneca (Gorboduc, Cambises). In later plays, morality plots rub shoulders with slapstick comic business (The Longer Thou Livest The More Fool Thou Art, The Three Ladies of London), and classical gods intervene in the affairs of England’s regions (Gallathea). While some of the plays offer pure entertainment, others have a clear political agenda. King Johan is presented as a prototype for English resistance to Rome’s Catholicism; Gorboduc’s decision to abdicate and divide his kingdom highlights the vexed question of the English succession under a childless queen. Other plays comment more obliquely on contemporary events. Play of the Four Elements reflects on England’s nascent maritime expeditions to the New World, while The Three Ladies of London comments topically on immigrant overcrowding in England’s port towns, and the dangers of England’s trade in the Mediterranean. Some plays push the boundaries of what the theatre can do in staging violence (Cambises) and questioning gender roles (Gallathea). Designed for undergraduate use, the anthology includes extensive explanatory annotations and a substantial introduction to each play; spelling and punctuation have been partially modernized in the interests of making the texts more accessible to students. In all this, the anthology follows principles similar to those developed for Christina M. Fitzgerald’s and John T. Sebastian’s Broadview Anthology of Medieval Drama; several of the plays from that anthology are also included here, while the rest have been newly edited for this volume, under the supervision of General Editor Alan Stewart.

Book One in an exciting new series, the Shadow Warrior saga. In the fog-enshrouded peaks of the island nation of Nehan, Ran, a newly-minted shadow warrior is set loose on a musha shugyo, a wandering quest, whereby he must travel alone and hone his skills. Journeying aboard a merchant vessel, Ran hears tales of a mysterious lord believed to have the dead for his servants. Soon these tales prove all too real as Ran comes to the aid of Jysal, a beautiful sorceress, whose undeveloped power gives her the ability to heal a land -- or destroy it. But the Lord Kan-Gul also covets Jysal's power. And when Kan-Gul sends a army of the undead to take Jysal by force, Ran is faced with the ultimate warrior's choice: save himself, or face down a horde of enemies that cannot be killed for the simple reason that they are already dead! At the publisher's request, this title is sold without DRM (Digital Rights Management).

Introduces the Korean language, and provides lessons in Korean grammar, usage, and vocabulary, with tables and charts of the various levels of speech and of noun and verb forms.

Casora is the captain of the war band known as the Deathless, so it’s her responsibility. Her fault that so many of them turned berserker at the news that their homeland had been conquered. All she wants is to lead the Deathless back home to drive out the invaders, but berserkers are barred from ever returning. Unless they can find a cure for the Curse. There’s one chance, the answer to a prayer: help the youngest prince find his way and he will help them find theirs. It’s their only hope. Tiaran is the youngest prince of Artria, the one no one believes can ever be a warrior. His father has other plans. Tiaran is to be used to secure the loyalty of an opportunistic general by marrying the general’s horrible daughter. Deep down, in a way he can’t explain, he knows he must fight to defend Artria from the invading horde. No one would believe him if he told them that they’ll lose the war if they don’t let him fight. So be it. But taking matters into his own hands very nearly gets him killed. When these two join forces on the battlefield, they’ll shake the foundations of kingdoms. Sword and Sorcery, NobleBright, berserker, war, destiny

"This book provides, for the first time in English, the kind of information that allows an accurate appreciation of the meanings and quality of Japanese poems.... Mostow's reception-oriented approach in this poem-by-poem discussion inspires an excellent essay on the history of English translations of this collection." --Choice "Joshua Mostow offers a brilliant and multifaceted exploration of Japanese poetics through translations, commentaries, and both literary and visual readings of the most influential of all poem anthologies. This book penetrates to the heart of traditional Japanese aesthetics." --Stephen Addiss, University of Richmond "...a rigorous and engaging study of an extremely important Japanese text. It is filled with information and shows a real appreciation for the often unarticulated assumptions that lay behind certain understandings--both Japanese and Western--concerning meaning and significance in a work of literature. The study breaks still further ground by articulating, and in the most persuasive fashion, issues relating to text and image that are central to the Japanese arts in virtually all periods. Professor Mostow has written a book that should interest not only specialists in the fields of Japanese literature and fine arts, but virtually anyone who enjoys reading poetry in an active and thoughtful fashion." --J. Thomas Rimer, University of Pittsburgh