Annotations in this edition are keyed both to the reading text of the new critical edition of Ulysses published in 1984 and to the standard 1961 Random House edition and the current Modern Library and Vintage texts.Gifford has incorporated over 1,000 additions and corrections to the first edition. The introduction and headnotes to sections provide general geographical, biographical and historical background. The annotations gloss place names, define slang terms, give capsule histories of institutions and political and cultural movements and figures, supply bits of local and Irish legend and lore, explain religious nomenclature and practices, trace literary allusions and references to other cultures.The suggestive potential of minor details was enormously fascinating to Joyce, and the precision of his use of detail is a most important aspect of his literary method. The annotations in this volume illuminate details which are not in the public realm for most of us.

    

    

    

    Booth exposes five dogmas of modernism that have too often inhibited efforts to answer these questions. Modern dogmas teach that "you cannot reason about values" and that "the job of thought is to doubt whatever can be doubted," and they leave those who accept them crippled in their efforts to think and talk together about whatever concerns them most. They have willed upon us a "befouled rhetorical climate" in which people are driven to two self-destructive extremes—defenders of reason becoming confined to ever narrower notions of logical or experimental proof and defenders of "values" becoming more and more irresponsible in trying to defend the heart, the gut, or the gonads. Booth traces the consequences of modernist assumptions through a wide range of inquiry and action: in politics, art, music, literature, and in personal efforts to find "identity" or a "self." In casting doubt on systematic doubt, the author finds that the dogmas are being questioned in almost every modern discipline. Suggesting that they be replaced with a rhetoric of "systematic assent," Booth discovers a vast, neglected reservoir of "good reasons"—many of them known to classical students of rhetoric, some still to be explored. These "good reasons" are here restored to intellectual respectability, suggesting the possibility of widespread new inquiry, in all fields, into the question, "When should I change my mind?"

    If you can keep paying attention you will find at the end that you seem to have been living in Japan for quite a while.' --Edwin Denby, 'Art News'

    In his last collection of writings, the late Dwight MacDonald here casts a penetrating gaze on such diverse phenomena as Hemingway, the Constitution, George Orwell, Norman Mailer, Tom Wolfe, the Chicago Conspirarry Trial, Hannah Arendt, Egypt, The Warren Report, Norman Cousins, Vietnam, the Columbia Student Strike of 1968, and Marshall McLuhan.

    The description for this book, The Adventurer: The Fate of Adventure in the Western World, will be forthcoming.

    He wanted a reaction, and he got one. Audiences fainted, walked out and boycotted screenings but they wouldn't forget the horror that was Psycho. Enjoyed the film? Want to know more? Go behind the scenes with the ultimate film guides and get the bigger picture. Understand how Alfred Hitchcock influenced some of Hollywood's greatest directors and how Psycho was credited with creating a genre of its own and later revered as a cinematic classic despite having no financial backing. Consider the importance of film style and key scenes, and learn how the film engages the audience by the use of narrative. Understand what role camera shots and music had on building a cinematic experience. What were the decisions behind casting Janet Leigh in the leading role and what did the character of Norman Bates do for Anthony Perkins career? Satisfy your curiosity with the ultimate film guides. Read biographies of key players, critics reviews and finally see the film the director wanted you to see. ...don't be in the dark about film

    

    

    Before what Pope envisioned as the apocalypse of modernism occurred, artists and aestheticians shared the faith of Newton and the divines in providential order, and, refining the neoclassical doctrine of mimesis, they expressed that faith in theory and practice. In shaping his own ideal forms, the Augustan artist took as paradigm the fiat of Genesis. Showing that theories of 'pure form' in the period rest upon the mutually dependent assumptions of ethnology and aesthetics, Professor Battestin first discusses the ways in which ideas of Nature's harmony, symmetry, and variety affected the doctrine of mimesis in the abstract arts of music, architecture, and gardening. Against the background he next examines the idea of Art and the relationship between form and meaning in the poetry of Pope and Gay and the fiction of Fielding and Godlsmith. THe final chapter, focusing on the deliberate violation of these formal principles in A Tale of Tub and Tristram Shandy, distinguishes between the Augustan and Modern modes by contrasting Swift's implicit acceptance of the ideals of his age with Sterne's sense that they are no logner relevant either to life or to art.