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Elizabeth Bishop and Robert Lowell were two of America's most brilliant poets. Throughout their lifetime, they wrote over 400 letters to each other; spanning decades, continents, political eras. Their connection was messy and profound, platonic yet romantic, intense and intangible. A love that resists easy definition.These are their words.Susan Smith Blackburn award winner Sarah Ruhl has crafted a stunning and quietly bold piece of theatre about what it means to love someone, and all the questions we regret never asking.

This chapter contains sections titled: Introduction The birth of ACESS Social Mobilization Activities Successes Lessons and Challenges ACESS governance and social mobilization Defining Social Mobilization in the Context of Alliances Conclusion Notes

Gerrard Herbert, a keen observer of the Jacobean court but of undetermined identity, wrote a series of letters in the period of 1617–19 that respond to dramatic performances, usually court masques. In some cases, Herbert provides the only extant information about certain productions, most notably that of Shakespeare’s Pericles in May 1619. His personal letters cover a range of topics, but this essay focuses on his accounts of drama, including the loss through fire of Whitehall’s Banqueting House in January 1619, a loss of a crucial theater venue. The crowning achievement for Herbert, in terms of commentary on drama, came in his apparent eye-witness account of the Pericles performance, recorded in his last letter about drama. A transcription of the pertinent parts of the letter is included here. Herbert as letter writer provides information, insight, and perspective on a court caught up in the splendor of masques and dramatic performances. He thereby expands knowledge of English theater history in its richest period.

Despite Mary Ann's efforts, Reddish still owed Drury Lane £176,2 most of which he repaid by selling his benefit night to the manager, Richard Brinsley Sheridan, who wanted all the nights he could get for his new play, The School for Scandal. Robert Bell, presumably relying on local sources more than half a century after the event, claims implausibly that when Mary Ann appeared in Dublin the Canning family's influence was strong enough to ensure that the boxes were empty (30). A further performance was announced on 13 October 1777, suggesting that the injunction scare may have been a misunderstanding, or a fiction to disguise the fact that the dialogue cobbled together by Ryder was inferior to Sheridan's original.3 When Reddish or Ryder failed to pay for the play-bills Mary Ann went to the offices of the Hibernian Chronicle to discuss the problem with the printer, William Flyn. Reddish was engaged at Covent Garden at twelve guineas a week, more than he had received in his last year at Drury Lane (Packet 109; Hogan 1:9), suggesting that the managers, Thomas Hull and Thomas Harris, had high hopes from his return to the London stage, initially in two Shakespearean roles, the lead in Hamlet and Posthumus in Cymbeline.

Sign language is an essential medium for everyday social interaction for deaf people and plays a critical role in verbal learning. In particular, language development in those people should heavily rely on the verbal short-term memory (STM) via sign language. Most previous studies compared neural activations during signed language processing in deaf signers and those during spoken language processing in hearing speakers. For sign language users, it thus remains unclear how visuospatial inputs are converted into the verbal STM operating in the left-hemisphere language network. Using functional magnetic resonance imaging, the present study investigated neural activation while bilinguals of spoken and signed language were engaged in a sequence memory span task. On each trial, participants viewed a nonsense syllable sequence presented either as written letters or as fingerspelling (4-7 syllables in length) and then held the syllable sequence for 12 s. Behavioral analysis revealed that participants relied on phonological memory while holding verbal information regardless of the type of input modality. At the neural level, this maintenance stage broadly activated the left-hemisphere language network, including the inferior frontal gyrus, supplementary motor area, superior temporal gyrus and inferior parietal lobule, for both letter and fingerspelling conditions. Interestingly, while most participants reported that they relied on phonological memory during maintenance, direct comparisons between letters and fingers revealed strikingly different patterns of neural activation during the same period. Namely, the effortful maintenance of fingerspelling inputs relative to letter inputs activated the left superior parietal lobule and dorsal premotor area, i.e., brain regions known to play a role in visuomotor analysis of hand/arm movements. These findings suggest that the dorsal visuomotor neural system subserves verbal learning via sign language by relaying gestural inputs to the classical left-hemisphere language network.

From Al Khet (For the Sins) to On a Heym (Without a Home): Aleksander Marten (1898–1942?), a Filmmaker of Jewish and Polish Sound Cinematography Mordka Matys Tenenbaum (1898–1942?), also known as Aleksander Marten, is one of the least known Yiddish filmmakers. After ending his theatrical career in Germany and Austria, he went on to direct a Yiddish film Al khet (For the Sins) in Warsaw (1936). It was a melodramatic family story which brought him success and recognition both in Poland and in the diaspora, thus becoming the starting point of the so-called “golden age of Jewish cinema.” It was then that, among others, the following films were made: Yiddle with His Fiddle (Yidl mit’n fidl, dir. Joseph Green and Jan Nowina-Przybylski, 1936), The Handshake (Tkies kaf, dir. Henryk Szaro, 1937), The Dybbuk (Der Dibuk, dir. Michał Waszyński, 1937), and A Little Letter to Mother (A brivele der mamen, dir. Green and Leon Trystan, 1938). Marten, however, chose a different path. Following the example of filmmakers who worked both in Polish and Yiddish cinema, i.e., Szaro, Konrad Tom, Trystan, and Waszyński, the next year he decided to try his hand at Polish film, directing a sensational drama What Women Dream Of (O czym marzą kobiety). It bore a close resemblance, almost shot by shot, to the German film Was Frauen träumen (1933). In 1939, his other film Without a Home (On a heym) had its premiere. It was a drama about Jewish immigrants who struggled to adapt to new living conditions in America. It was also the last Yiddish film made in inter-war Poland.