Within that rich literature of suffering, Arthur Rimbaud’s A Season in Hell–written when the poet was nineteen–provides an astonishing example of the grapple with self. As a companion to Rimbaud’s journey, readers could have no better guide than Wyatt Mason. One of our most talented young translators and critics, Mason’s new version of A Season in Hell renders the music and mystery of Rimbaud’s tale of Hell on Earth with exceptional finesse and power. This bilingual edition includes maps, a helpful chronology of Rimbaud’s life, and the unfinished suite of prose poems, Illuminations and A Season in Hell cement Rimbaud’s reputation as one of the foremost, and most influential, writers in French literature.

    It deals largely with epistemological questions of truth and language, including the formation of concepts. Every word immediately becomes a concept, inasmuch as it is not intended to serve as a reminder of the unique and wholly individualized original experience to which it owes its birth, but must at the same time fit innumerable, more or less similar cases—which means, strictly speaking, never equal—in other words, a lot of unequal cases. Every concept originates through our equating what is unequal. According to Paul F. Glenn, Nietzsche is arguing that "concepts are metaphors which do not correspond to reality." Although all concepts are human inventions (created by common agreement to facilitate ease of communication), human beings forget this fact after inventing them, and come to believe that they are "true" and do correspond to reality. Thus Nietzsche argues that "truth" is actually: A mobile army of metaphors, metonyms, and anthropomorphisms—in short, a sum of human relations which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors which are worn out and without sensuous power; coins which have lost their pictures and now matter only as metal, no longer as coins. These ideas about truth and its relation to human language have been particularly influential among postmodern theorists, and "On Truth and Lies in a Nonmoral Sense" is one of the works most responsible for Nietzsche's reputation (albeit a contentious one) as "the godfather of postmodernism."

    This volume presents the text in French and English with photographs by Robert Mapplethorpe.

    He saw in it the rise and climax of values so dear to him that their subsequent drop into catastrophe (in the person of Socrates - Plato) was clearly foreshadowed as though these were events taking place in the theater.And so in this work, unpublished in his own day but written at the same time that his The Birth of Tragedy had so outraged the German professorate as to imperil his own academic career, his most deeply felt task was one of education. He wanted to present the culture of the Greeks as a paradigm to his young German contemporaries who might thus be persuaded to work toward a state of culture of their own; a state where Nietzsche found sorely missing.

    Pater was shocked at the reaction his book inspired: 'I wish they would not call me a hedonist, it gives such a wrong impression to those who do not know Greek.'.The book had begun as a series of idiosyncratic, impressionistic critical essays on those artists that embodied for him the spirit of the Renaissance; by collecting them and adding his infamous Conclusion, Pater gained a reputation as a daring modern philosopher. But The Renaissance survives as one of the most innovative pieces of cultural criticism to emerge from the nineteenth century.

    This book, Christopher Carson - The Pioneer of the West by John S.C. Abbott tells the story in wonderful detail. You'll meet other well known Americans such as John C. Fremont, but mostly, you'll thrill to the adventures of Kit Carson. Carson was a mild mannered man who didn't drink alcohol and never used foul language, but when danger threatened him or any of his companions, he stepped forward without a hint of fear. He grew to manhood in some of the most exciting times the new American nation ever experienced, and was instrumental in extending the boundaries of this new nation from sea to shining sea. This isn't a novel, but the true story of the life of Kit Carson. Once you start reading you'll find that this is a book you won't want to put down until the end. This edition of CHRISTOPHER CARSON; Familiarly Known As Kit Carson The Pioneer of the West includes the original images from the book plus historical and newly painted images of Kit Carson. This is the ebook of the Bottom of the Hill Publishing print edition of CHRISTOPHER CARSON; Familiarly Known As Kit Carson The Pioneer of the West. If you would like a printed book look on Amazon for ISBN 978-1-61203-731-8

    Leskov deftly layers social satire and subtle criticism atop myth and fable, resulting in a richly entertaining collection.

    Forgive me, I beseech you, if I commence that search in my own way. I have seen enough of ladies and gentlemen for the present: they must be all very much alike in every part of the world. You desired me to be amused. I go to try if that be possible. Ladies and gentlemen are not amusing; the more ladylike or gentlemanlike they are, the more insipid I find them. My dear father, I go in quest of adventure like Amadis of Gaul, like Don Quixote, like Gil Blas, like Roderick Random; like, in short, the only people seeking real life, the people who never existed except in books. I go on foot; I go alone. I have provided myself with a larger amount of money than I ought to spend, because every man must buy experience, and the first fees are heavy. In fact, I have put fifty pounds into my pocketbook and into my purse five sovereigns and seventeen shillings. This sum ought to last me a year; but I dare say inexperience will do me out of it in a month, so we will count it as nothing. Since you have asked me to fix my own allowance, I will beg you kindly to commence it this day in advance. . . . Yours ever affectionately, Kenelm