David Wilton debunks the most persistently wrong word histories, and gives, to the best of our actual knowledge, the real stories behind these perennially mis-etymologized words. In addition, he explains why these wrong stories are created, disseminated, and persist, even after being corrected time and time again. What makes us cling to these stories, when the truth behind these words and phrases is available, for the most part, at any library or on the Internet? Arranged by chapters, this book avoids a dry A-Z format. Chapters separate misetymologies by kind, including The Perils of Political Correctness (picnics have nothing to do with lynchings), Posh, Phat Pommies (the problems of bacronyming--the desire to make every word into an acronym), and CANOE (which stands for the Conspiracy to Attribute Nautical Origins to Everything). Word Myths corrects long-held and far-flung examples of wrong etymologies, without taking the fun out of etymology itself. It's the best of both worlds: not only do you learn the many wrong stories behind these words, you also learn why and how they are created--and what the real story is.

    As a brilliant survey of English literature in terms of changing attitudes towards country and city, Williams' highly-acclaimed study reveals the shifting images and associations between these two traditional poles of life throughout the major developmental periods of English culture.

    This compendium of early Japanese life provides a panorama of Japan during its formation.

    S. Eliot as one of the chief sources for his great poem "The Waste Land," Jessie L. Weston's From Ritual to Romance remains a landmark of anthropological and mythological scholarship. In this book she explores the origins of the Grail legend, arguing that it dates back to a primitive vegetation cult and only later was shaped by Celtic and Christian lore.To prove her thesis, Weston unites folkloric and Christian elements by using printed texts to prove the parallels existing between each and every feature of the legend of the Holy Grail and the recorded symbolism of the ancient mystery cults. Specifically, she finds the origin of the Grail legend in a Gnostic text that served as a link between such cults and later Celtic and Christian elaborations of the myth.With erudition and critical acumen, the author provides illuminating insights into diverse aspects of the legend: the task of the hero; the freeing of the waters; medieval and modern forms of nature ritual; the symbols of the cult (cup, lance, sword, stone, etc.); the symbolism of the fisher king; the significance of such deities as Tammuz, Adonis, Mithra, and Attis; the meaning of the adventure of the Perilous Chapel in Grail romances; and much more.Awarded the Crawshay Prize in 1920, this scholarly yet highly readable study will interest any student of the Arthurian legends, mythology, ancient religion, and Eliot's poetry.

    It contains twenty-six lessons, exercises (with answers), a list of hieroglyphic signs, and a dictionary, as well as twenty-five essays on the most important aspects of ancient Egyptian history, society, religion and literature. It also offers scholars of linguistics a complete grammatical description of the classical language of ancient Egypt.

    . . . In its general theoretical argument on the relations of culture to economy, but also in its specialized concentration, Noise has much that is of importance to critical theory today.” SubStance“For Attali, music is not simply a reflection of culture, but a harbinger of change, an anticipatory abstraction of the shape of things to come. The book’s title refers specifically to the reception of musics that sonically rival normative social orders. Noise is Attali’s metaphor for a broad, historical vanguardism, for the radical soundscapes of the western continuum that express structurally the course of social development.” EthnomusicologyJacques Attali is the author of numerous books, including Millennium: Winners and Losers in the Coming World Order and Labyrinth in Culture and Society.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    It depicts a literal battle between books in the King's Library (housed in St James's Palace at the time of the writing), as ideas and authors struggle for supremacy. Because of the satire, "The Battle of the Books" has become a term for the Quarrel of the Ancients and the Moderns. It is one of his earliest well-known works.

    From Spenser's The Fairie Queene to Wells's The Time Machine to Murakami's 1Q84 it explores the timeless and captivating features of fiction's imagined worlds including the relevance of the writer's own life to the creation of the story, influential contemporary events and philosophies, and the meaning that can be extracted from the details of the work. With hundreds of pieces of original artwork, illustration and cartography, as well as a detailed overview of the plot and a "Dramatis Personae" for each work, Literary Wonderlands is a fascinating read for lovers of literature, fantasy, and science fiction.

    It interweaves essays and poetry from dozens of writers associated with the shop--Allen Ginsberg, Anaïs Nin, Ethan Hawke, Robert Stone and Jeanette Winterson, among others--with hundreds of never-before-seen archival pieces. It includes photographs of James Baldwin, William Burroughs and Langston Hughes, plus a foreword by the celebrated British novelist Jeanette Winterson and an epilogue by Sylvia Whitman, the daughter of the store’s founder, George Whitman. The book has been edited by Krista Halverson, director of the newly founded Shakespeare and Company publishing house.

    It covers the birth of rock, soul, R&B, punk, hip hop, indie, house, techno, and more, and it will remind you why you fell in love with pop music in the first place.Bob Stanley—musician, music critic, and unabashed fan—recounts the progression from the Beach Boys to the Pet Shop Boys to the Beastie Boys; explores what connects doo wop to the sock hop; and reveals how technological changes have affected pop production. Working with a broad definition of “pop”—one that includes country and metal, disco and Dylan, skiffle and glam—Stanley teases out the connections and tensions that animate the pop charts and argues that the charts are vital social history.Yeah! Yeah! Yeah! is like the world’s best and most eclectic jukebox in book form. All the hits are here: the Monkees, Metallica, Patsy Cline, Patti Smith, new wave, New Order, “It’s the Same Old Song,” The Song Remains the Same, Aretha, Bowie, Madonna, Prince, Sgt. Pepper, A Tribe Called Quest, the Big Bopper, Fleetwood Mac, “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini,” Bikini Kill, the Kinks, Mick Jagger, Michael Jackson, Jay-Z, and on and on and on. This book will have you reaching for your records (or CDs or MP3s) and discovering countless others.For anyone who has ever thrilled to the opening chord of the Beatles’ “A Hard Day’s Night” or fallen crazy in love for Beyoncé, Yeah! Yeah! Yeah! is a vital guide to the rich soundtrack of the second half of the twentieth century.

    “Babel in California” told the true story of various human destinies intersecting at Stanford University during a conference about the enigmatic writer Isaac Babel. Over the course of several pages, Batuman managed to misplace Babel’s last living relatives at the San Francisco airport, uncover Babel’s secret influence on the making of King Kong, and introduce her readers to a new voice that was unpredictable, comic, humane, ironic, charming, poignant, and completely, unpretentiously full of love for literature. Batuman’s subsequent pieces—for The New Yorker, Harper’s Magazine, and the London Review of Books— have made her one of the most sought-after and admired writers of her generation, and its best traveling companion. In The Possessed we watch her investigate a possible murder at Tolstoy’s ancestral estate. We go with her to Stanford, Switzerland, and St. Petersburg; retrace Pushkin’s wanderings in the Caucasus; learn why Old Uzbek has one hundred different words for crying; and see an eighteenth-century ice palace reconstructed on the Neva. Love and the novel, the individual in history, the existential plight of the graduate student: all find their place in The Possessed. Literally and metaphorically following the footsteps of her favorite authors, Batuman searches for the answers to the big questions in the details of lived experience, combining fresh readings of the great Russians, from Pushkin to Platonov, with the sad and funny stories of the lives they continue to influence—including her own.

    Both a calendar of daily rituals and a witty sequence of stories recounted in a variety of styles, it weaves together tales of gods and citizens together to explore Rome's history, religious beliefs and traditions. It may also be read as a subtle but powerful political manifesto which derides Augustus' attempts to control his subjects by imposing his own mythology upon them: after celebrating the emperor as a Jupiter-on-earth, for example, Ovid deliberately juxtaposes a story showing the king of the gods as a savage rapist. Endlessly playful, this is also a work of integrity and courage, and a superb climax to the life of one of Rome's greatest writers.

    It is also the newest classic in the canon of world literature. Lost for centuries to the sands of the Middle East but found again in the 1850s, it tells the story of a great king, his heroism, and his eventual defeat. It is a story of monsters, gods, and cataclysms, and of intimate friendship and love. Acclaimed literary historian Michael Schmidt provides a unique meditation on the rediscovery of Gilgamesh and its profound influence on poets today.Schmidt describes how the poem is a work in progress even now, an undertaking that has drawn on the talents and obsessions of an unlikely cast of characters, from archaeologists and museum curators to tomb raiders and jihadis. Fragments of the poem, incised on clay tablets, were scattered across a huge expanse of desert when it was recovered in the nineteenth century. The poem had to be reassembled, its languages deciphered. The discovery of a pre-Noah flood story was front-page news on both sides of the Atlantic, and the poem's allure only continues to grow as additional cuneiform tablets come to light. Its translation, interpretation, and integration are ongoing.In this illuminating book, Schmidt discusses the special fascination Gilgamesh holds for contemporary poets, arguing that part of its appeal is its captivating otherness. He reflects on the work of leading poets such as Charles Olson, Louis Zukofsky, and Yusef Komunyakaa, whose own encounters with the poem are revelatory, and he reads its many translations and editions to bring it vividly to life for readers.

    In his political speeches especially and in his correspondence we see the excitement, tension and intrigue of politics and the part he played in the turmoil of the time. Of about 106 speeches, delivered before the Roman people or the Senate if they were political, before jurors if judicial, 58 survive (a few of them incompletely). In the fourteenth century Petrarch and other Italian humanists discovered manuscripts containing more than 900 letters of which more than 800 were written by Cicero and nearly 100 by others to him. These afford a revelation of the man all the more striking because most were not written for publication. Six rhetorical works survive and another in fragments. Philosophical works include seven extant major compositions and a number of others; and some lost. There is also poetry, some original, some as translations from the Greek.The Loeb Classical Library edition of Cicero is in twenty-nine volumes.