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.

    This volume contains essays written by Elias Canetti between the years 1962 and 1974.

    As he was preparing his manuscript for the printer, however, the political climate in Greece became increasingly unpropitious for such an undertaking. Soon he did not feel free to publish in his own country, and in those ominous days there were even some fears for the safety of his unpublished manuscripts. Shortly before his death on September 20, 1971, he entrusted a copy of the journal to his friend Athan Anagnostopoulos with the request that he translate it, publish it, and that Walter Kaiser write the introduction for American readers.

    The linking of psychosomatic to literary and literary to a larger political horizon raises the question of conservative premises to linguistic, pyschoanalystic, philisophical, and literary theories and criticisms of such.

    Creatively obsessed with problems of race, identity, power, politics, and family dynamics, he wrote novels, stories, and lectures that continue to shape our understanding of the region's promises and problems. His experiments and inventions in form and style have influenced generations of writers.Originally published in 1974 as a two-volume edition and extensively updated and condensed in a 1991 reissue, Joseph Blotner's Faulkner: A Biography remains the quintessential resource on the Nobel laureate's life and work. The Chicago Tribune said, "This is an overwhelming book, indispensable for anyone interested in the life and works of our greatest contemporary novelist." That invaluable 1991 edition is now back in print.Blotner, a friend and one-time colleague of Faulkner's, brings a vivid, personalized tone to the biography, as well as a sense of masterful, comprehensive scholarship. Using letters, inter-views, reminiscences, critical work, and other primary sources, Blotner creates a detailed and nuanced portrait of Faulkner from his birth to his death. The revision of the original 1974 biography incorporates commentary on the plethora of Faulkner criticism, family memoirs, and posthumously published works that appeared in the wake of the first version. It also examines collections of letters and other materials that only came to light after the original publication.Featuring a detailed chronology of Faulkner's life and a genealogical chart of his family, Faulkner is authoritative and essential both for literary scholars and for anyone wanting to know about the life of one of the nation's foremost authors. Blotner's masterpiece is the template for all biographical work on the acclaimed writer.Joseph Blotner, Charlottesville, Virginia, is professor emeritus of English at University of Michigan and the author of several books, including Robert Penn Warren: A Biography, The Modern American Political Novel, and The Fiction of J. D. Salinger. His work has appeared in the New York Times Book Review, Yale Review, American Literature, and else-where.

    Some are important historically, some intrinsically; others have both historic and intrinsic value. Apart from presenting such writings by dramatic theorists and critics, the book also aims to offer works by philosophers, psychologists, and social theorists, and by dramatic authors. The selections include theories and analyses of the major, traditional dramatic genres, from ancient to modern times, and of modern genres, forms of drama, and conceptions of theatre. It is a thread that may be traced throughout the anthology. Another thread is a contrast between traditional and more 'avant garde' dramas. In addition, there is discussion of social contexts and resonances of the drama, dramatic action and playwriting, dramatic illusion, and Shakespearean criticism.

    Routledge is an imprint of Taylor & Francis, an informa company.

    

    16 The Japanese novel, lately so widely translated, is finding a broader and better informed readership than ever before. Until now, however, no comprehensive critical discussion of the form has been available in a Western language. Masao Miyoshi offers an intensive reading of several outstanding novels of the past hundred years. He explains that the Japanese novel, usually regarded as basically Western in style, retains native elements that utterly resist Western influence. Citing Western, especially English, novels for comparison, he demonstrates how the Japanese novel differs in important formal aspects.

    While for the latter we have Plato and Aristotle, this insightful work explores the everyday moral conceptions to which orators appealed in court and political assemblies, and which were reflected in non-philosophical literature. Oratory and comedy provide the primary testimony, and reference is also made to Sophocles, Euripides, Herodotus, Thucydides, Xenophon, and other sources. The selection of topics, the contrasts and comparisons with modern religious, social and legal principles, and accessibility to the non-specialist ensure the work's appeal to all readers with an interest in ancient Greek culture and social life. "A classic. It provides an invaluable aid to anyone seeking to understand Plato and Aristotle in their historical context. Dover uses a variety of literary sources to set out, with clarity and deep sensitivity, popular views on moral, political, and religious matters in fourth-century Greece." --Michael Morgan, Indiana University

    The writerss considered include Keats, Tieck, E.T.A. Hoffman, Heine, Eichendorff, Thomas Hardy, Henry James, Swinburne, Beardsley, William Morris, Yeats, Giraudoux and Thomas Mann.

    

    

    The psyche is a manifold of conscious and unconscious contents, and the symbol is their mediator. Because Lorca's dramatic characters are psychic entities made up of both conscious and unconscious elements, they unfold, grow, and meet their fate in a dense realm of shifting symbols. In Psyche and Symbol in the Theater of Federico García Lorca, Rupert Allen analyzes symbologically three dramatic works of Lorca. He has found Perlimplín to be a good deal more complex in both psyche and symbol than it has been admitted to be. Yerma involves psychological complications that have not been considered in the light of modern critical analysis, and the symbolic reaches of Blood Wedding have until this book remained largely unexplored. Lorca was no stranger to the "agony of creation," and this struggle sometimes appears symbolically in the form of his dramatic characters. Both Yerma and Blood Wedding reflect specific problems underlying the creative act, for they are "translations" into the realm of sexuality of the creative turmoil experienced by Lorca the poet. Perlimplín portrays the paradoxical suicide as a self-murder born out of the futile attempt to create not a poem, but a self. Previous criticism of these three plays has been dominated by critical assumptions that are transcended by Lorca's own twentieth-century mentality. Allen's analysis provides a new view of Lorca as a dramatist and presents new material to students of symbology.