Dying Of Politeness

From two-time Academy Award winner and screen icon Geena Davis, the surprising tale of her “journey to badassery”—from her epically polite childhood to roles that loaned her the strength to become a powerhouse in Hollywood. At three years old, Geena Davis announced she was going to be in movies. Now, with a slew of iconic roles and awards under her belt, she has surpassed her childhood dream—but the path to finding yourself never did run smoothly. In this simultaneously hilarious and candid memoir, Davis regales us with tales of a career playing everything from an amnesiac assassin to the parent of a rodent, her eccentric childhood, her relationships, and helping lead the way to gender parity in Hollywood—all while learning to be a little more badass, one role at a time. Dying of Politeness is a touching account of one woman’s journey to fight for herself, and ultimately fighting for women all around the globe.

Do unto others as you would others should do to you. You can never be rude if you bear the rule always in mind, for what lady likes to be treated rudely? True Christian politeness will always be the result of an unselfish regard for the feelings of others, and though you may err in the ceremonious points of etiquette, you will never be im polite. Politeness, founded upon such a rule, becomes the expression, in graceful manner, of social virtues. The spirit of politeness consists in a certain attention to forms and ceremonies, which are meant both to please others and ourselves, and to make others pleased with us ;a still clearer definition may be given by saying that politeness is goodness of heart put into daily practice; the.re can be no true, politeness without kindness, purity, singleness of heart, and sensibility. Many believe that politeness is but a mask worn in the world to conceal bad passions and impulses, and to make a show of possessing virtues not really existing in the heart; thus, that politeness is merely hypocrisy and dissimulation. Do not believe this; be certain that those who profess such a doctrine are practising themselves the deceit they condemn so much.

Presents a series of personal essays concerning the author's life and her experiences with death, including the sudden death of her father, her mother's lingering illness and death, and her own suicide attempt.

The second edition of this collection of 13 original papers contains an updated introductory section detailing the significance that the original articles published in 1992 have for the further development of research into linguistic politeness into the 21st century. The original articles focus on the phenomenon of politeness in language. They present the most important problems in developing a theory of linguistic politeness, which must deal with the crucial differences between lay notions of politeness in different cultures and the term 'politeness' as a concept within a theory of linguistic politeness. The universal validity of the term itself is called into question, as are models such as those developed by Brown and Levinson, Lakoff, and Leech. New approaches are suggested. In addition to this theoretical discussion, an empirical section presents a number of case studies and research projects in linguistic politeness. These show what has been achieved within current models and what still remains to be done, in particular with reference to cross-cultural studies in politeness and differences between a Western and a non-Western approach to the subject. The publication of this second edition demonstrates that the significance of the collection is just as salient in the first decade of the new millennium as it was at the beginning of the 1990s.

This first in-depth study of women’s politeness examines the complex relationship individuals had with the discursive ideals of polite femininity. Contextualising women’s autobiographical writings (journals and letters) with a wide range of eighteenth-century printed didactic material, it analyses the tensions between politeness discourse which aimed to regulate acceptable feminine identities and women’s possibilities to resist this disciplinary regime. Ylivuori focuses on the central role the female body played as both the means through which individuals actively fashioned themselves as polite and feminine, and the supposedly truthful expression of their inner status of polite femininity.

In 2008, the artist Adam Cullen invited journalist Erik Jensen to stay in his spare room and write his biography. What followed were four years of intense honesty and a relationship that became increasingly claustrophobic. At one point Cullen shot Jensen, in part to see how committed he was to the book. At another, he threw Jensen from a speeding motorbike. The book contract Cullen used to convince Jensen to stay with him never existed. Acute Misfortune is a riveting account of the life and death of one of Australia’s most celebrated artists, the man behind the Archibald Prize–winning portrait of David Wenham. Jensen follows Cullen through drug deals and periods of deep self-reflection, onwards into his court appearance for weapons possession and finally his death in 2012 at the age of forty-six. After much critical acclaim, Acute Misfortune was developed into a feature film, winning The Age Critics Award at the Melbourne International Film Festival in 2018. The story is by turns tender and horrifying: a spare tale of art, sex, drugs and childhood, told at close quarters and without judgement. Winner of the 2015 Nib Waverley Library Award for Literature Shortlisted in the 2015 Victorian Premier's Literary Awards and for the 2015 Walkley Book Award ‘Erik Jensen is a Boswell or Vasari for our baffled, fractured, fucked-up times. Acute Misfortune is the most intimate, revealing, and original take on an artist’s life I know of.’ —Sebastian Smee ‘Erik Jensen gives us that ingenious place where biography is also art.’ —Jennifer Clement ‘This is supposed to be about an artist, a wild man, his lifetime, and it is; but Jensen has written such a beautiful window that all art and life is shining through. I'm supposed to be an artist but I cannot put this down.’ —DBC Pierre