Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas.

    Arguing that their characters are as strong and their plots as complex as any dreamt up by the great novelists, Tom McCarthy asks a simple question: is Tintin literature?"

    Its startling popularity marked the emergence of a new type of theatre whose proponents—Beckett, Ionesco, Genet, Pinter, and others—shattered dramatic conventions and paid scant attention to psychological realism, while highlighting their characters’ inability to understand one another. In 1961, Martin Esslin gave a name to the phenomenon in his groundbreaking study of these playwrights who dramatized the absurdity at the core of the human condition.Over four decades after its initial publication, Esslin’s landmark book has lost none of its freshness. The questions these dramatists raise about the struggle for meaning in a purposeless world are still as incisive and necessary today as they were when Beckett’s tramps first waited beneath a dying tree on a lonely country road for a mysterious benefactor who would never show. Authoritative, engaging, and eminently readable, The Theatre of the Absurd is nothing short of a classic: vital reading for anyone with an interest in the theatre.

    A Glossary of Literary Terms covers the terminology of literature - from literary history to theory to criticism - making it a valuable addition to any literary theory or literature course.

    It contains concise essays on a wide variety of literary concepts among the 50 entries, and everything you need to know about literary techniques and genres.

    One was a celebrity at twenty-three, the other virtually unknown until his dying days. One was right-wing and religious, the other a socialist and an atheist. Yet, as this ingenious and important new book reveals, at the heart of their lives and writing, Evelyn Waugh and George Orwell were essentially the same man. Orwell is best known for Animal Farm and 1984, Waugh for Brideshead Revisited and comic novels like Scoop and Vile Bodies. However different they may seem, these two towering figures of twentieth-century literature are linked for the first time in this engaging and unconventional biography, which goes beyond the story of their amazing lives to reach the core of their beliefs–a shared vision that was startlingly prescient about our own troubled times.Both Waugh and Orwell were born in 1903, into the same comfortable stratum of England’s class-obsessed society. But at first glance they seem to have lived opposite lives. Waugh married into the high aristocracy, writing hilarious novels that captured the amoral time between the wars. He converted to Catholicism after his wife’s infidelity and their divorce. Orwell married a moneyless student of Tolkien’s who followed him to Barcelona, where he fought in the Spanish Civil War. She saved his life there–twice–but her own fate was tragic.Waugh and Orwell would meet only once, as the latter lay dying of tuberculosis, yet as The Same Man brilliantly shows, in their life and work both writers rebelled against a modern world run by a privileged, sometimes brutal, few. Orwell and Waugh were almost alone among their peers in seeing what the future–our time–would bring, and they dedicated their lives to warning us against what was coming: a world of material wealth but few values, an existence without tradition or community or common purpose, where lives are measured in dollars, not sense. They explained why, despite prosperity, so many people feel that our society is headed in the wrong direction. David Lebedoff believes that we need both Orwell and Waugh now more than ever.Unique in its insights and filled with vivid scenes of these two fascinating men and their tumultuous times, The Same Man is an amazing story and an original work of literary biography.

    He introduces characters and incidents with his unusual literary style and grace, bringing to the fore those that have "Puritans as Democrats," "The Monarch's Revolution," "The Artist Prophet and Jester" -- show the recurrent role of great themes throughout the eras.The triumphs and defeats of five hundred years form an inspiring saga that modifies the current impression of one long tale of oppression by white European males. Women and their deeds are prominent, and freedom (even in sexual matters) is not an invention of the last decades. And when Barzun rates the present not as a culmination but a decline, he is in no way a prophet of doom. Instead, he shows decadence as the creative novelty that will burst forth -- tomorrow or the next day.Only after a lifetime of separate studies covering a broad territory could a writer create with such ease the synthesis displayed in this magnificent volume.

    It covers a broad range of fictional narratives, from Richardson’s Clarissa, Dostoyevski’s Crime and Punishment, and Austen’s Pride and Prejudice to Woolf’s Mrs. Dalloway, Nabokov’s Lolita, and Hammett’s The Maltese Falcon. Zunshine’s surprising new interpretations of well-known literary texts and popular cultural representations constantly prod her readers to rethink their own interest in fictional narrative. Written for a general audience, this study provides a jargon-free introduction to the rapidly growing interdisciplinary field known as cognitive approaches to literature and culture.

    Ambiguity, according to Empson, includes "any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language." From this definition, broad enough by his own admission sometimes to see "stretched absurdly far," he launches into a brilliant discussion, under seven classifications of differing complexity and depth, of such works, among others, as Shakespeare's plays and the poetry of Chaucer, Donne, Marvell, Pope, Wordsworth, Gerard Manley Hopkins, and T. S. Eliot.

    He was baptized a Catholic, but his faith journey led him to Protestant evangelicalism. He became a philosophy professor at Baylor University and president of the Evangelical Theological Society (ETS). And then, in 2007, after much prayer, counsel, and consideration, Beckwith decided to return to the Catholic church and step down as ETS president.This provocative book details Beckwith's journey, focusing on his internal dialogue between the Protestant theology he embraced for most of his adult life and Catholicism. He seeks to explain what prompted his decision and offers theological reflection on whether one can be evangelical and Catholic, affirming his belief that one can be both. EXCERPTIt's difficult to explain why one moves from one Christian tradition to another. It is like trying to give an account to your friends why you chose to pursue for marriage this woman rather than that one, though both may have a variety of qualities that you found attractive. It seems to me then that any account of my return to the Catholic church, however authentic and compelling it is to me, will appear inadequate to anyone who is absolutely convinced that I was wrong. Conversely, my story will confirm in the minds of many devout Catholics that the supernatural power of the grace I received at baptism and confirmation as a youngster were instrumental in drawing me back to the Mother Church. Given these considerations, I confess that there is an awkwardness in sharing my journey as a published book, knowing that many fellow Christians will scrutinize and examine my reasons in ways that appear to some uncharitable and to others too charitable.

    Chapters focus on the supernatural elements of the work, as well as the author´s treatment of the physical self.

    Drawn from The Brothers Karamazov, The Idiot, Crime and Punishment, and The Adolescent, the seventeen selections are each prefaced by an explanatory note. Newcomers will find in these pages a rich, accessible sampling. Dostoyevsky devotees will be pleased to find some of the writer’s deepest, most compelling passages in one volume.Full-page woodcuts by master engraver Fritz Eichenberg enhance the book.

    This predicament seems inevitable, but in fact it's quite new. In medieval Europe, God's calling was a grounding force. In ancient Greece, a whole pantheon of shining gods stood ready to draw an appropriate action out of you. Like an athlete in “the zone,” you were called to a harmonious attunement with the world, so absorbed in it that you couldn’t make a “wrong” choice. If our culture no longer takes for granted a belief in God, can we nevertheless get in touch with the Homeric moods of wonder and gratitude, and be guided by the meanings they reveal?All Things Shining says we can. Hubert Dreyfus and Sean Dorrance Kelly illuminate some of the greatest works of the West to reveal how we have lost our passionate engagement with and responsiveness to the world. Their journey takes us from the wonder and openness of Homer’s polytheism to the monotheism of Dante; from the autonomy of Kant to the multiple worlds of Melville; and, finally, to the spiritual difficulties evoked by modern authors such as David Foster Wallace and Elizabeth Gilbert.Dreyfus, a philosopher at the University of California, Berkeley, for forty years, is an original thinker who finds in the classic texts of our culture a new relevance for people’s everyday lives. His lively, thought-provoking lectures have earned him a podcast audience that often reaches the iTunesU Top 40. Kelly, chair of the philosophy department at Harvard University, is an eloquent new voice whose sensitivity to the sadness of the culture— and to what remains of the wonder and gratitude that could chase it away—captures a generation adrift.Re-envisioning modern spiritual life through their examination of literature, philosophy, and religious testimony, Dreyfus and Kelly unearth ancient sources of meaning, and teach us how to rediscover the sacred, shining things that surround us every day. This book will change the way we understand our culture, our history, our sacred practices, and ourselves. It offers a new—and very old—way to celebrate and be grateful for our existence in the modern world.

    It is also the only up-to-date survey of literary theory that devotes extensive treatment to Queer Theory and Postcolonial and Race Studies. How to Interpret Literature, Second Edition, is ideal as either a stand-alone text or in conjunction with an anthology of primary readings such as Robert Dale Parker's Critical Theory: A Reader for Literary and Cultural Studies.DISTINCTIVE FEATURES* Uses a conversational and engaging tone that speaks directly to today's students* Covers a variety of theoretical schools--including New Criticism, Structuralism, Deconstruction, Psychoanalysis, Feminism, and Marxism--weaving connections among chapters to show how these different movements respond to and build on each other* Offers a rich assortment of pedagogical features (charts, text boxes that address frequently asked questions, photos, and a bibliography)

    Now he returns with a beautiful, haunting novel about the family we love and the chances we miss.For One More Day is the story of a mother and a son, and a relationship that covers a lifetime and beyond. It explores the question: What would you do if you could spend one more day with a lost loved one? As a child, Charley "Chick" Benetto was told by his father, "You can be a mama's boy or a daddy's boy, but you can't be both." So he chooses his father, only to see the man disappear when Charley is on the verge of adolescence. Decades later, Charley is a broken man. His life has been crumbled by alcohol and regret. He loses his job. He leaves his family. He hits bottom after discovering his only daughter has shut him out of her wedding. And he decides to take his own life.He makes a midnight ride to his small hometown, with plans to do himself in. But upon failing even to do that, he staggers back to his old house, only to make an astonishing discovery. His mother, who died eight years earlier, is still living there, and welcomes him home as if nothing ever happened..What follows is the one "ordinary" day so many of us yearn for, a chance to make good with a lost parent, to explain the family secrets, and to seek forgiveness. Somewhere between this life and the next, Charley learns the astonishing things he never knew about his mother and her sacrifices. And he tries, with her tender guidance, to put the crumbled pieces of his life back together.Through Albom's inspiring characters and masterful storytelling, readers will newly appreciate those whom they love and may have thought they'd lost in their own lives. For One More Day is a book for anyone in a family, and will be cherished by Albom's millions of fans worldwide.