Bøger af James Moran

This book aims to provide English second language (L2) learners withthe necessary speaking and writing tools in the use of the most frequentbusiness English lexicon. Although it has been written for first language(L1) speakers of Spanish, its use can also be extrapolated to any L2 Englishlearner, regardless of their L1.The present book includes the 100 most common phrasal verbs that anyEnglish speaker needs to be engaged in any oral or written business setting.Phrasal verbs always pose a challenge to L2 English speakers. The merge ofa verb and one or even two particles makes these constituents form a singlelexical and syntactic unit that di ers from the syntax and the semantics ofeach of the constituents individually (e.g. Liao and Fukuya 2002; McCarthyand O'Dell 2004; Trebits 2009; among others). To set an example, the verb"back" and the particle "off " refer to the decision of stopping puttingpressure on someone.

This Critical Companion to the work of one of Ireland's most famous and controversial playwrights, Sean O'Casey, is the first major study of the playwright's work to consider his oeuvre and the archival material that has appeared during the last decade. Published ahead of the centenary of the 1916 Easter Rising in Ireland with which O'Casey's most famous plays are associated, it provides a clear and detailed study of the work in context and performance. James Moran shows that O'Casey not only remains the most performed playwright at Ireland's national theatre, but that the playwright was also one of the most controversial and divisive literary figures, whose work caused riots and who alienated many of his supporters. Since the start of the 'Troubles' in the North of Ireland, his work has been associated with Irish historical revisionism, and has become the subject of debate about Irish nationalism and revolutionary history. Moran's admirably clear study considers the writer's plays, autobiographical writings and essays, paying special attention to the Dublin trilogy, The Shadow of a Gunman, Juno and the Paycock, and The Plough and the Stars. It considers the work produced in exile, during the war and the late plays. The Companion also features a number of interviews and essays by other leading scholars and practitioners, including Garry Hynes, Victor Merriman and Paul Murphy, which provide further critical perspectives on the work.

Modernists and the Theatre examines how six key modernists, who are best known as poets and novelists, engaged with the realm of theatre and performance. Drawing on a wealth of unfamiliar archival material and fresh readings of neglected documents, James Moran demonstrates how these literary figures interacted with the playhouse, exploring W.B. Yeats's earliest playwriting, Ezra Pound's onstage acting, the links between James Joyce's and D.H. Lawrence's sense of drama, T.S. Eliot's thinking about theatrical popularity, and the feminist politics of Virginia Woolf's small-scale theatrical experimentation. While these modernists often made hostile comments about drama, this volume highlights how the writers were all repeatedly drawn to the form. While Yeats and Pound were fascinated by the controlling aspect of theatre, other authors felt inspired by theatre as a democratic forum in which dissenting voices could be heard. Some of these modernists used theatre to express and explore identities that had previously been sidelined in the public forum, including the working-class mining communities of Lawrence's plays, the sexually unconventional and non-binary gender expressions of Joyce's fiction, and the female experience that Woolf sought to represent and discuss in terms of theatrical performance. These writers may be known primarily for creating non-dramatic texts, but this book demonstrates the importance of the theatre to the activities of these authors, and shows how a sense of the theatrical repeatedly motivated the wider thinking and writing of six major figures in literary history.

"e;My masters will follow the example of Rome... our mighty empire bestraddling the whole of civilization!"e;It is AD 79, and the TARDIS lands in Pompeii on the eve of the town's destruction. Mount Vesuvius is ready to erupt and bury its surroundings in molten lava, just as history dictates. Or is it?The Doctor and Donna find that Pompeii is home to impossible things: circuits made of stone, soothsayers who read minds and fiery giants made of burning rock. From a lair deep in the volcano, these creatures plot the end of humanity - and the Doctor soon finds he has no way to win...

Clare Corbett reads this new novelisation of the TV adventure featuring the Tenth Doctor and Donna. "My masters will follow the example of Rome... our mighty empire bestraddling the whole of civilization!" It is AD 79, and the TARDIS lands in Pompeii on the eve of the town's destruction. Mount Vesuvius is ready to erupt and bury its surroundings in molten lava, just as history dictates. Or is it? The Doctor and Donna find that Pompeii is home to impossible things: circuits made of stone, soothsayers who read minds and fiery giants made of burning rock. From a lair deep in the volcano, these creatures plot the end of humanity - and the Doctor soon finds he has no way to win... Clare Corbett reads James Moran's novelisation of his 2008 TV episode which starred David Tennant and Catherine Tate. Reading produced by Neil Gardner at Ladbroke Audio Sound design by David Darlington Executive producer: Michael Stevens©2022 BBC Studios Distribution Ltd (P)2022 BBC Studios Distribution Ltd

This book begins by defining the term 'fake news', a term which has come to great public prominence since the start of our current millennium. Fake news, broadly defined, is used to describe 'false, often sensational, information disseminated under the guise of news reporting'. By giving some high-profile examples, this volume shows how the concept differs from lying and propaganda on one side and then from postmodern arguments about the relativism of all knowledge on the other. The book outlines the way that various national governments have become concerned with the concept in recent years, and points to contemporary worries about the behaviours of social media, about manipulation by both state and non-state actors, and about the developing technological capacity that allows almost any individual to produce 'deep fakes' that are virtually indistinguishable from genuine photographs or film footage. The volume explains why fake news can be productively examined through the lens of theatre and performance. We see how various forms of theatre have shared the epistemic function of the news: that is, to furnish the public with reliable factual information, and the book includes discussion of theatre-makers who have attempted to use theatre in this way. This book also traces the way that the concerns of our own historical moment about fake news echo the repeated worries expressed throughout theatrical history. The examples selected in this section of the book are therefore taken from the canonical high-road of Western theatrical texts, by figures such as Shakespeare, Bertolt Brecht, Henrik Ibsen, Lorraine Hansberry, Joan Littlewood, and Sarah Kane.

This book discusses biomethane and the processes and applications downstream from biogas production.

This book examines the role of civil law in determining mental capacity over a five hundred year period in England and in New Jersey. -- .

With a focus on gender, this exploration since William Thompson's 1967 classic, "The Imagination of an Insurrection", offers insights into the studied theatricality of the Rising. This book argues that the Rising set out to proclaim sexual equality as well as political independence, but that, the rebels' radical ideas about gender were ignored.

These essays make fresh interventions in modernist studies and acknowledge the legacies of regional modernisms for post-war representations of place and landscape. They answer the question, 'where did literary modernism happen?' in the light of recent developments in literary geography and literary history across many literary forms.