Songs of Innocence and Experience: Romance in the Cinema of Frank Capra is a study of the director’s chosen movies from the perspective of three types of comedies: paradisal, purgatorial and infernal, as assigned by Dante in his Divine Comedy. Magdalena Grabias views Capra’s films in two broader categories of “innocence” and “experience,” where “innocence” represents Dantean paradisal level, and “experience” combines the levels of purgatory and inferno. Such a division constitutes the means to interpret Capra’s filmic universe and to describe the ever-evolving directorial vision of Frank Capra. The main purpose of the book is to demonstrate how, in the light of the theory of literary romance as presented by Northrop Frye in his seminal works concerning the subject, the films of Frank Capra fit into the genre of romance. Romantic elements in Frank Capra’s movies can be found in both “innocence” and “experience” categories and, hence, consequently in his paradisal, purgatorial and infernal comedies. However, in both categories, and all three comedy types, the romantic reality of each examined film is structured and developed in a different manner. The book offers an insight into Frank Capra’s films and the complex process of creating his multidimensional romantic universe within them.

The Devil's School lies down this way. Lot's wife knows your name. Hearts hang in the scales, flesh and clay are one and the same, and the severed head of Orpheus sings in winter waves. In award-winning poet Sonya Taaffe's first collection of short fiction, the boundaries between worlds dissolve to reveal unmasked harlequins and women made of stars, serpentine plagues and New England storm gods, and many other denizens of the spaces between. These songs of innocence and experience, Blake never knew.

Songs of Innocence and of Experience (1794) is William Blake's best-known work, containing such familiar poems as 'London', 'Sick Rose' and 'The Tyger'. Evolving over the author's lifetime, the collection was printed by Blake himself on his own press. This Reader's Guide: - Explains the unique development of Songs as an illuminated book - Considers the earliest reactions to the text during Blake's lifetime, and his gathering posthumous reputation in the nineteenth century - Explores modern critical approaches and recent debates - Discusses key topics that have been of abiding interest to critics, including the relationship between text and image in Blake's 'composite art' Insightful and stimulating, this introductory guide is an invaluable resource for anyone who is seeking to navigate their way through the mass of criticism surrounding Blake's most widely-studied work.

Preface by David Bindman, General Editor. Foreword. List of Abbreviations. Introduction. The Plates with a transcription of the text. Plates From Other Copies. Commentary on the text and the plates. Appendix. Works Cited.

I was born Innocent Murambiwa Hondo on 11 January 1961, in Chinyemba Village, Glendale, Mazoe District of the then Rhodesia. I had an official change of my maternal surname ?Hondo? to my paternal surname ?Chirawu? and acquired the middle name ?Blessed? in 1983. Since my childhood I have always aspired to utilise every opportunity that helps me help my fellowman best. I was brought up in colonial Rhodesia which was dominated by ?divide and rule? politics in favour of the white minority population. As a result the black child?s school was far inferior compared to his white counterpart?s. There was also a deliberate public policy to provide the average black child with an education only adequate for him to perform a subordinate role to his ?white master? and only 12% of the black children were expected to proceed to secondary education. These would form the ?elite? part of the society taking up occupations like nurses, teachers, clerks, agricultural extension officers and others. I was very fortunate to fall into the category of the ?elite? group, who made it through the bottleneck system into secondary education ? Salvation Army?s Howard Secondary School which was a syndicate examination centre for The University of Cambridge whereby GCE ?O?Level examinations were set and marked at that reputable university. I sat for those Exams in November/December 1978 and passed with grades B and C in 8 subjects including Maths, Science and English ? thus obtaining a University of Cambridge GCE certificate in First Division. I later on proceeded to a private institution, Ranche House College where I did my English and Sociology at Advanced level. My first job after school was working as a bank clerk for Standard Chartered Bank from May 1980 to Sept 1981. I then intercalated from banking to study for my Diploma in Theology at the International Bible Training Centre (Lagos) in 1982, resumed banking for a stint then did my initial teacher training from 1984 to 1987. I then taught Woodwork, RE and English in Zimbabwean secondary schools for 11 years, during which period I rose through the ranks of being an ordinary class teacher, head of department (Religious Education & English) and deputy head teacher. While in full-time teaching, I managed to study for a degree in educational administration, planning and policy studies as well as a part one in BA Media studies through Zimbabwe Open University ? the latter which was interrupted by socio-politico-economic problems in Zimbabwe that time. I was doing all those study programmes paying the fees from my salary and without a penny of assistance from the government. In Zimbabwe switching from being a teacher to being a journalist for the independent press was and still is, like jumping from the frying pan into the fire. In April,1999, I then joined the Daily News, the then Zimbabwe?s once most popular and best seller tabloid later banned and defunct from 2003-2010, where I served as a subeditor-cum-proofreader until the time I migrated to England in December 2001. By the time I left Zimbabwe there was every sign that the future of my colleagues, our newspaper and I was very gloom. After the bombings of our offices and printing press, our then editor-in-chief, Geoff Nyarota announced that due to the political situation and the hostility that time we were experiencing, he could not guarantee our safety anymore. So, I had no choice but sell my family property, buy a ticket, flew into self exile in England, and I have always lived here since then. Later on I called my family over to join my stay in the country. My grandmother, my childhood mentor

Spine title: Songs of innocence and of experience. Contains critical essays in chronological order of publication.

This Book Traces The Development Of F. Scott Fitzgerald And His Characters From Dreams To Maturity. It Shows How He Utilised His Own Experience To Represent The National And The Human Experience In His Novels.

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. What is the relationship between theory and practice in the creative arts today? In Critical Practice, Martin McQuillan offers a critical interrogation of the idea of practice-led research. He goes beyond the recent vocabulary of research management to consider the more interesting question of the emergence of a cultural space in which philosophy, theory, history and practice are becoming indistinguishable. McQuillan considers the work of a number of writers and thinkers who cross the divide between theoretical and creative practice, including Alain Badiou and Terry Eagleton, and the longer tradition of 'theory-writing' that runs through the work of Hélène Cixous, Roland Barthes and Louis Althusser. His aim is to elucidate the contemporary ramifications of a relationship that has been contested throughout the long history of philosophy, from Plato's dialogues to Derrida's 'Envois'.

The Poetics of Childhood investigates the sensibility of childhood and the ways writers try to recapture it. It explores the earliest conceptions of innocence and the development of literature about children through contemporary times. It encompasses the pastoral, the dark pastoral, the anti-pastoral; it addresses picture books, fantasy, and realism. It looks with originality at the literature of childhood, inclusive of children's literature and literature about childhood, so that the child and adult can be seen reflexively--the child in the adult and the various stages of childhood as they are remembered and retained in adulthood. It confronts issues of primal and socially constructed desire adn the use of childhood to talk about desire. It is a poetics, a way of imagining the experience of childhood and explores childhood as a particulary fluid and porous time, it also addresses issues of creativity. This is an essential reference for teachers, parents, artists, and writers.

Man is less significant than he thinks he is and, at the same time, more important than he can possibly imagine. Alchemy is the process of changing the ordinary into something extraordinary. The purpose of mortality or human existence has nothing to do with the accumulation of “things” that rust and deteriorate and everything to do with the acquisition of something that transcends the ordinary and that endures. Man’s journey begins in his instinctual mind, develops in his intellectual mind, and evolves to his spiritual mind as each of us exchange potentials for actuals. Alchemy of the Human Experience is about exchanging man’s human nature for his divine nature. This life is the cocoon of the gods.