Erin Sullivan – författare

The Oxford Companion to Shakespeare is the most comprehensive reference work available on Shakespeare''s life, times, works, and his 400-year global legacy. In addition to the authoritative A-Z entries, it includes nearly 100 illustrations, a chronology, a guide to further reading, a thematic contents list, and special feature entries on each of Shakespeare''s works. Tying in with the 400th anniversary of Shakespeare''s death, this much-loved Companion has been revised and updated, reflecting developments and discoveries made in recent years and to cover the performance, interpretation, and the influence of Shakespeare''s works up to the present day. First published in 2001, the online edition was revised in 2011, with updates to over 200 entries plus 16 new entries. These online updates appear in print for the first time in this second edition, along with a further 35,000 new and revised words. These include more than 80 new entries, ranging from important performers, directors, and scholars (such as Lucy Bailey, Samuel West, and Alfredo Michel Modenessi), to topics as diverse as Shakespeare in the digital age and the ubiquity of plants in Shakespeare''s works, to the interpretation of Shakespeare globally, from Finland to Iraq. To make information on Shakespeare''s major works easier to find, the feature entries have been grouped and placed in a centre section (fully cross-referenced from the A-Z). The thematic listing of entries - described in the press as ''an invaluable panorama of the contents'' - has been updated to include all of the new entries. This edition contains a preface written by much-lauded Shakespearian actor Simon Russell Beale.Full of both entertaining trivia and scholarly detail, this authoritative Companion will delight the browser and reward students, academics, as well as anyone wanting to know more about Shakespeare.

The Oxford Companion to Shakespeare is the most comprehensive reference work available on Shakespeare's life, times, works, and his 400-year global legacy. In addition to the authoritative A-Z entries, it includes nearly 100 illustrations, a chronology, a guide to further reading, a thematic contents list, and special feature entries on each of Shakespeare's works. Tying in with the 400th anniversary of Shakespeare's death, this much-loved Companion has been revised and updated, reflecting developments and discoveries made in recent years and to cover the performance, interpretation, and the influence of Shakespeare's works up to the present day. First published in 2001, the online edition was revised in 2011, with updates to over 200 entries plus 16 new entries. These online updates appear in print for the first time in this second edition, along with a further 35,000 new and revised words. These include more than 80 new entries, ranging from important performers, directors, and scholars (such as Lucy Bailey, Samuel West, and Alfredo Michel Modenessi), to topics as diverse as Shakespeare in the digital age and the ubiquity of plants in Shakespeare's works, to the interpretation of Shakespeare globally, from Finland to Iraq. To make information on Shakespeare's major works easier to find, the feature entries have been grouped and placed in a centre section (fully cross-referenced from the A-Z). The thematic listing of entries - described in the press as 'an invaluable panorama of the contents' - has been updated to include all of the new entries. This edition contains a preface written by much-lauded Shakespearian actor Simon Russell Beale.Full of both entertaining trivia and scholarly detail, this authoritative Companion will delight the browser and reward students, academics, as well as anyone wanting to know more about Shakespeare.

From Shakespeare's Hamlet to Burton's Anatomy to Hilliard's miniatures, melancholy has long been associated with the emotional life of Renaissance England. But what other forms of sadness existed alongside, or even beyond, melancholy, and what kinds of selfhood did they help create?Beyond Melancholy explores the vital distinctions Renaissance writers made between grief, godly sorrow, despair, and melancholy, and the unique interactions these emotions were thought to produce in the mind, body, and soul. While most medical and philosophical writings emphasized the physiological and moral dangers of the 'dis-ease' of sadness, warning that in its most extreme form it could damage the body and even cause death, new Protestant teachings about the nature of devotion and salvation suggested that sadness could in fact be a positive, even transformative, experience, helping to humble believers' souls and bring them closer to God. The result of such dramatically conflicting paradigms was a widespread ambiguity about the value of sadness and a need to clarify its significance through active and wilful interpretation - something this book calls 'emotive improvisation'. Drawing on a wide range of Renaissance medical, philosophical, religious, and literary texts - including, but not limited to, moral treatises on the passions, medical text books, mortality records, doctors' case notes, sermons, theological tracts, devotional and elegiac poetry, letters, life-writings, ballads, and stage-plays - Beyond Melancholy explores the emotional codes surrounding the experience of sadness and the way writers responded to and reinterpreted them. In doing so it demonstrates the value of working across source materials too often divided along disciplinary lines, and the special importance of literary texts to the study of the emotional past.

This collection of essays offers a major reassessment of the meaning and significance of emotional experience in the work of Shakespeare and his contemporaries. Recent scholarship on early modern emotion has relied on a medical-historical approach, resulting in a picture of emotional experience that stresses the dominance of the material, humoral body. The Renaissance of emotion seeks to redress this balance by examining the ways in which early modern texts explore emotional experience from perspectives other than humoral medicine. The chapters in the book seek to demonstrate how open, creative and agency-ridden the experience and interpretation of emotion could be. Taken individually, the chapters offer much-needed investigations into previously overlooked areas of emotional experience and signification; taken together, they offer a thorough re-evaluation of the cultural priorities and phenomenological principles that shaped the understanding of the emotive self in the early modern period. The Renaissance of emotion will be of particular interest to students and scholars of Shakespeare and Renaissance literature, the history of emotion, theatre and cultural history, and the history of ideas.

This edited collection offers the first in-depth analysis and sourcebook for ‘Lockdown Shakespeare’. It brings together scholars of stage, screen, early modern and adaptation studies to examine the work that emerged during the Covid-19 pandemic and considers issues of form, liveness, reception, presence and community. Interviews with theatre makers and artists illuminate the challenges and benefits of creating new work online, while educators consider how digital tools have facilitated the teaching of Shakespeare through performance. Together, the chapters in this book offer readers the definitive work on the performance and adaptation of Shakespeare online during the pandemic.From The Show Must Go Online, which presented Shakespeare’s First Folio via YouTube, to Creation Theatre and Big Telly’s interactive The Tempest and Macbeth, which used Zoom as their stage, the book documents the variety and richness of work that emerged during the pandemic. It reveals how, by taking Shakespeare online in new and innovative ways, the theatre industry sparked the evolution of new forms of performance with their own conventions, aesthetics and notions of liveness. Among the other productions discussed are Arden Theatre Company’s A Midsummer Night’s Dream, Tender Claws’ ‘The Under Presents: Tempest’, The Shakespeare Ensemble’s What You Will, Merced Shakespearefest’s Ricardo II, CtrlAltRepeat’s Midsummer Night Stream, Sally McLean’s Shakespeare Republic: #AllTheWebsAStage (The Lockdown Chronicles) and Justina Taft Mattos’s Moore – A Pacific Island Othello.

This edited collection offers the first in-depth analysis and sourcebook for ''Lockdown Shakespeare''. It brings together scholars of stage, screen, early modern and adaptation studies to examine the work that emerged during the Covid-19 pandemic and considers issues of form, liveness, reception, presence and community. Interviews with theatre makers and artists illuminate the challenges and benefits of creating new work online, while educators consider how digital tools have facilitated the teaching of Shakespeare through performance. Together, the chapters in this book offer readers the definitive work on the performance and adaptation of Shakespeare online during the pandemic.From The Show Must Go Online, which presented Shakespeare''s First Folio via YouTube, to Creation Theatre and Big Telly''s interactive The Tempest and Macbeth, which used Zoom as their stage, the book documents the variety and richness of work that emerged during the pandemic. It reveals how, by taking Shakespeare online in new and innovative ways, the theatre industry sparked the evolution of new forms of performance with their own conventions, aesthetics and notions of liveness. Among the other productions discussed are Arden Theatre Company''s A Midsummer Night''s Dream, Tender Claws'' ''The Under Presents: Tempest'', The Shakespeare Ensemble''s What You Will, Merced Shakespearefest''s Ricardo II, CtrlAltRepeat''s Midsummer Night Stream, Sally McLean''s Shakespeare Republic: #AllTheWebsAStage (The Lockdown Chronicles) and Justina Taft Mattos''s Moore – A Pacific Island Othello.

This edited collection offers the first in-depth analysis and sourcebook for ''Lockdown Shakespeare''. It brings together scholars of stage, screen, early modern and adaptation studies to examine the work that emerged during the Covid-19 pandemic and considers issues of form, liveness, reception, presence and community. Interviews with theatre makers and artists illuminate the challenges and benefits of creating new work online, while educators consider how digital tools have facilitated the teaching of Shakespeare through performance. Together, the chapters in this book offer readers the definitive work on the performance and adaptation of Shakespeare online during the pandemic.From The Show Must Go Online, which presented Shakespeare''s First Folio via YouTube, to Creation Theatre and Big Telly''s interactive The Tempest and Macbeth, which used Zoom as their stage, the book documents the variety and richness of work that emerged during the pandemic. It reveals how, by taking Shakespeare online in new and innovative ways, the theatre industry sparked the evolution of new forms of performance with their own conventions, aesthetics and notions of liveness. Among the other productions discussed are Arden Theatre Company''s A Midsummer Night''s Dream, Tender Claws'' ''The Under Presents: Tempest'', The Shakespeare Ensemble''s What You Will, Merced Shakespearefest''s Ricardo II, CtrlAltRepeat''s Midsummer Night Stream, Sally McLean''s Shakespeare Republic: #AllTheWebsAStage (The Lockdown Chronicles) and Justina Taft Mattos''s Moore – A Pacific Island Othello.

This edited collection offers the first in-depth analysis and sourcebook for ‘Lockdown Shakespeare’. It brings together scholars of stage, screen, early modern and adaptation studies to examine the work that emerged during the Covid-19 pandemic and considers issues of form, liveness, reception, presence and community. Interviews with theatre makers and artists illuminate the challenges and benefits of creating new work online, while educators consider how digital tools have facilitated the teaching of Shakespeare through performance. Together, the chapters in this book offer readers the definitive work on the performance and adaptation of Shakespeare online during the pandemic.From The Show Must Go Online, which presented Shakespeare’s First Folio via YouTube, to Creation Theatre and Big Telly’s interactive The Tempest and Macbeth, which used Zoom as their stage, the book documents the variety and richness of work that emerged during the pandemic. It reveals how, by taking Shakespeare online in new and innovative ways, the theatre industry sparked the evolution of new forms of performance with their own conventions, aesthetics and notions of liveness. Among the other productions discussed are Arden Theatre Company’s A Midsummer Night’s Dream, Tender Claws’ ‘The Under Presents: Tempest’, The Shakespeare Ensemble’s What You Will, Merced Shakespearefest’s Ricardo II, CtrlAltRepeat’s Midsummer Night Stream, Sally McLean’s Shakespeare Republic: #AllTheWebsAStage (The Lockdown Chronicles) and Justina Taft Mattos’s Moore – A Pacific Island Othello.

The first in-depth analysis of how an individual''s natal horoscope reveals the unique challenges and opportunities of midlife.

Between the ages of thirty-seven and forty-one, something mysterious takes place within the psyche.  Jung called this phase our "unlived life," assuming rightly that midlife did not inaugurate a time of rapid decay, loss of libido, and inevitable death—but rather ushered in a period in which one might review one''s life and build upon a strong foundation toward the next phase of adulthood.

Acclaimed astrologer Erin Sullivan takes us through the vast changes that astrology reveals as we reach middle age.  It is a moment in life that is characterized by the planet Uranus, one filled with opportunities to both rethink the past and move forward toward the future, "witnessing" our lives in the way Uranus connotes.  There exist no maps of the terrain—except the natal horoscope.

 

Long held as Britain's 'national poet', Shakespeare’s role in the 2012 London Cultural Olympiad confirmed his status as a global icon in the modern world. From his prominent positioning in the Olympic and Paralympic ceremonies, to his major presence in the cultural programme surrounding the Games, including the Royal Shakespeare Company's World Shakespeare Festival and the Globe's Globe to Globe Festival, Shakespeare played a major role in the way the UK presented itself to its citizens and to the world.This collection explores the cultural forces at play in the construction, use and reception of Shakespeare during the 2012 Olympic Moment, considering what his presence says about culture, politics and identity in twenty-first century British and global life.

Long held as Britain's 'national poet', Shakespeare’s role in the 2012 London Cultural Olympiad confirmed his status as a global icon in the modern world. From his prominent positioning in the Olympic and Paralympic ceremonies, to his major presence in the cultural programme surrounding the Games, including the Royal Shakespeare Company's World Shakespeare Festival and the Globe's Globe to Globe Festival, Shakespeare played a major role in the way the UK presented itself to its citizens and to the world.This collection explores the cultural forces at play in the construction, use and reception of Shakespeare during the 2012 Olympic Moment, considering what his presence says about culture, politics and identity in twenty-first century British and global life.

Long held as Britain''s ''national poet'', Shakespeare''s role in the 2012 London Cultural Olympiad confirmed his status as a global icon in the modern world. From his prominent positioning in the Olympic and Paralympic ceremonies, to his major presence in the cultural programme surrounding the Games, including the Royal Shakespeare Company''s World Shakespeare Festival and the Globe''s Globe to Globe Festival, Shakespeare played a major role in the way the UK presented itself to its citizens and to the world. This collection explores the cultural forces at play in the construction, use and reception of Shakespeare during the 2012 Olympic Moment, considering what his presence says about culture, politics and identity in twenty-first century British and global life.

Long held as Britain''s ''national poet'', Shakespeare''s role in the 2012 London Cultural Olympiad confirmed his status as a global icon in the modern world. From his prominent positioning in the Olympic and Paralympic ceremonies, to his major presence in the cultural programme surrounding the Games, including the Royal Shakespeare Company''s World Shakespeare Festival and the Globe''s Globe to Globe Festival, Shakespeare played a major role in the way the UK presented itself to its citizens and to the world. This collection explores the cultural forces at play in the construction, use and reception of Shakespeare during the 2012 Olympic Moment, considering what his presence says about culture, politics and identity in twenty-first century British and global life.

This collection of essays offers a major reassessment of the meaning and significance of emotional experience in the work of Shakespeare and his contemporaries. Recent scholarship on early modern emotion has relied on a medical-historical approach, resulting in a picture of emotional experience that stresses the dominance of the material, humoral body. The Renaissance of emotion seeks to redress this balance by examining the ways in which early modern texts explore emotional experience from perspectives other than humoral medicine. The chapters in the book seek to demonstrate how open, creative and agency-ridden the experience and interpretation of emotion could be. Taken individually, the chapters offer much-needed investigations into previously overlooked areas of emotional experience and signification; taken together, they offer a thorough re-evaluation of the cultural priorities and phenomenological principles that shaped the understanding of the emotive self in this period.

Erin Sullivan's latest book is a breakthrough both in astrology and psychology.The Astrology of Family Dynamics makes for gripping reading and shows us that astrology is the only system that demonstrates the complexities of the family as an organic whole, the family's place in the collective, and the role an individual plays in carrying on the ancestral line. Sullivan writes with compassion and accuracy, weaving together various methods of analyzing and working with individuals and their families.

"Geocentricity might well be egocentricity" the phenomenon of retrograde motion is based on our Earth-centered view of the solar system, but the movement and cycles of retrograde planets are based entirely on the apparent motion of the Sun through the zodiac. Sullivan organizes and explains retrograde motion from a systems-view-point the system of the Sun and planets and interprets retrograde planets natally, by progression, and in transit.

Back by popular demand! This is the reprint of the original version of Where in the World? Astro*Carto*Graphy and Relocation which was published by the CPA Press in 1999. It was produced in a seminar format, which enables the reader to feel part of the lectures, and so relate to the questions coming from the audience. An expert both in astrology and in world travel, Erin Sullivan has lived in several cultures and made innumerable relocations in her life. Wherever we go, there we are, but more potent aspects of ourselves emerge in various locations. This book explains using the techniques of A*C*G how we experience ourselves in various parts of the world from a person-centred and global perspective. It relates how even a minor a relocation can activate unconscious or sleeping characteristics within the self.

Back by popular demand! This is the reprint of the original version of Venus and Jupiter: Bridging the Ideal and the Real which was published by the CPA Press in 1998. It was produced in a seminar format, which enables the reader to feel part of the lectures, and so relate to the questions coming from the audience. Bringing to reality our dreams and fantasies of the ideal is not always easy nor even possible. Coming to terms with this natural split in the human psyche is also difficult, but in this book, Erin Sullivan goes deeply into the character, mythological origins and astrological relationship of the two planets most closely associated with ideals, creativity, romance, ethics and social relationships.In Venus we find the inherent duality of the experience, and this lies in the goddess Aphrodite's own duality. In Jupiter she brings the larger, global perspective into the picture, showing how the sky-god Zeus can act as a tyrannical component within our own psyche, and also, how his wisdom is the result of internalizing the more feminine aspects of our archetypal story. Delineation of Venus and Jupiter to the other planets are included. Good for all levels of knowledge from beginner to professional in astrology.

Shakespeare and Digital Performance in Practice explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry. Through close analysis of dozens of productions, both high-profile and lesser known, it examines the rise of live broadcasting and recording in the theatre, the growing use of live video feeds and dynamic projections on the mainstream stage, and experiments in born-digital theatre-making, including social media, virtual reality, and video-conferencing adaptations. In doing so, it argues that technologically adventurous performances of Shakespeare allow performers and audiences to test what they believe theatre to be, as well as to reflect on what it means to be present—with a work of art, with others, with oneself—in an increasingly online world.

Shakespeare and Digital Performance in Practice explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry. Through close analysis of dozens of productions, both high-profile and lesser known, it examines the rise of live broadcasting and recording in the theatre, the growing use of live video feeds and dynamic projections on the mainstream stage, and experiments in born-digital theatre-making, including social media, virtual reality, and video-conferencing adaptations. In doing so, it argues that technologically adventurous performances of Shakespeare allow performers and audiences to test what they believe theatre to be, as well as to reflect on what it means to be present—with a work of art, with others, with oneself—in an increasingly online world.