Parry began recording and studying a live tradition of oral narrative poetry in order to find an answer to the age-old Homeric Question: How had the author of the Iliad and Odyssey composed these two monumental epic poems at the very start of Europe's literary tradition? Parry's, and with him Lord's, enduring contribution--set forth in Lord's The Singer of Tales--was to demonstrate the process by which oral poets compose. Now reissued with a new Introduction and an invaluable audio and visual record, this widely influential book is newly enriched to better serve everyone interested in the art and craft of oral literature.

    Setting out to ex­plore these literary allusions, Mr. Atherton sheds a great deal of light upon other as­pects of Joyce’s work. Entire chapters are devoted to such major figures as Swift and Lewis Carroll, while less important influences are grouped together under such headings as “The Irish Writers” and “The Fathers of the Church.” He also sur­veys the various interpretations of Finnegans Wake, and makes use of the Letters of James Joyce and the manuscript of Fin­negans Wake in the British Museum.

    . . an accepted major work.” This groundbreaking work views in depth both American literature and character from the time of the American Revolution to the present. From it, there emerges Fiedler’s once scandalous―now increasingly accepted―judgment that our literature is incapable of dealing with adult sexuality and is pathologically obsessed with death.

    

    It looks at Johnson's studies on Shakespeare in their 18th century context and analyzes their significance and achievement.

    Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).

    AcknowledgmentsForeword1 Rococo: the idea of an order: Pope & the rococo situationFictions of the EnlightenmentRococo as a style Arabesque in verseGenre pittoresque2 Picturesque, romanticism, symbolism: The loss of a styleVisual picturesque: the pleasures of imaginationPsychological picturesque: association & reverieLuminism Correspondences3 Neo-mannerism: Style, stylization & blockageThe neo-mannerist condition The impressionist experimentNazarenes, Lyonnais & pre-RaphaelitesThe Nabis & art nouveau4 The Cubist perspective: The new world of relationships: camera & cinemaCubist drama The Cubist novel World without objects: neo-plasticism & poetryNotesBibliographical NoteIndex

    By positioning himself as both different and same, Glissant opens a space for the writing of a(nother) history: that of the Caribbean.

    Compiles critical essays on the Romantic Age and the individual works of Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats.

    This is an extraordinarily important and unique book that is essential for playwrights, theater enthusiasm and courses on drama.

    The description for this book, The Power of Satire: Magic, Ritual, Art, will be forthcoming.