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By Jonathan Lethem

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In Jonathan Lethem's wryly humorous moment novel, we meet a tender guy named Chaos, who's residing in a film theater in post-apocalyptic Wyoming, consuming alcohol, and consuming foodstuff out of cans.
It's an strange and every now and then insufferable lifestyles, yet Chaos quickly discovers that his post-nuclear fact could have no connection to the reality. So he is taking to the line with a lady named Melinda to be able to locate solutions. because the pair travels in the course of the usa they locate that, whereas each one city has been affected otherwise via the mysterious resource of the apocalypse, not one of the humans they meet can fill of their incomplete stories or solution their questions. steadily, figures from Chaos's earlier, together with a few who seem in basic terms lower than the effect of intravenously administered medications, make Chaos consider a few of his forgotten lifestyles as a guy named Moon.

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Cfm (accessed 6 January 2015). indd 26 17/04/2015 11:50 Introduction 27 what are his writing’s most salient, world-like features? And how did all those published words become a world? There is a good set of answers to these questions. People have since antiquity recognized that all the writings authored by a single person should have something like a family resemblance one with another and that the body of writing by a single author should be capable of being judged as a whole. 28 The normal identification of writers and their works gives us the foundation condition of possibility for the world-like coherence of a body of authored work.

However, this should not prevent us from attentive Barbara Lewalski, ‘Biblical Allusion and Allegory in The Merchant of Venice’, Shakespeare Quarterly 13 (1962): 330. 4 We take seriously Shylock’s sense of himself as a Jew. Our discussion of his character acknowledges his integrity, and pays attention to him as a decision-making agent rather than as a symbolic figure whose thought and speech allegorize other things. ’ ‘Well’ is a common word in English, and so it is not surprising to discover that it occurs over 2,000 times in Shakespeare’s works, including somewhere between 65 and 75 instances in The Merchant of Venice.

A focus on embodied language also brings forcefully to our attention the history of the performance of the plays, an attention that can foster new insights into how the plays might have worked in Shakespeare’s time. 20 Five of the ten chapters that follow focus at least in part on performance and on Shakespeare’s gestural language. They undertake to grasp the plays’ poetic and performative inventiveness and the way those dimensions work together. In this respect, the present book aims to breach a barrier in Shakespeare studies between performance studies and literaryhistorical criticism, a divide that, we think, has stood in the way of a full understanding of Shakespeare’s art since at least J.

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