This deeper content - the metahistorical element - indicates what an appropriate historical explanation might be.In pursuing his thesis, White provides a book that will be of interest to philosophers as well as historians. He explicates the styles of such historians as Michelet, Ranke, Tocueville, and Borchardt and of such philosophers of history as Hegel, Marx, Nietzsche, and Croce.

    In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing.

    This text claims that the link between William Shakespeare and the works published under his name is weak, and it argues instead that Edward de Vere, the 17th Earl of Oxford and a literary Elizabethan courtier, is a far more plausible author than Shakespeare, the obscure country actor.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    The orthodox view is that the author of the works of Shakespeare was, of course, the actor and businessman of Statford-upon-Avon. But the known facts about this man are surprisingly meager and contrast puzzlingly with the learned, courtly philosopher revealed in the sonnets and plays--the universal genius and supreme stylist. John Michell's witty investigation of the theories and claims reads like a series of detective stories. By the end of the book even the most faithful disciples of the Bard will find themselves asking, "Who Wrote Shakespeare?"

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    The only comprehensive study that examines all areas of Basho's work, including haibun, renku and critical commentaries.

    Think of Hamlet, trapped in indecision, or Macbeth’s merciless and ultimately self-destructive ambition, or the Machiavellian rise and short reign of Richard III. They are so vital, so alive and real that we can see aspects of ourselves in them. But their world was at once familiar and nothing like our own. In this brilliant work of historical reconstruction Neil MacGregor and his team at the British Museum, working together in a landmark collaboration with the Royal Shakespeare Company and the BBC, bring us twenty objects that capture the essence of Shakespeare’s universe. A perfect complement to A History of the World in 100 Objects, MacGregor’s landmark New York Times bestseller, Shakespeare’s Restless World highlights a turning point in human history. This magnificent book, illustrated throughout with more than one hundred vibrant color photographs, invites you to travel back in history and to touch, smell, and feel what life was like at that pivotal moment, when humankind leaped into the modern age. This was an exhilarating time when discoveries in science and technology altered the parameters of the known world. Sir Francis Drake’s circumnavigation map allows us to imagine the age of exploration from the point of view of one of its most ambitious navigators. A bishop’s cup captures the most sacred and divisive act in Christendom. With A History of the World in 100 Objects, MacGregor pioneered a new way of telling history through artifacts. Now he trains his eye closer to home, on a subject that has mesmerized him since childhood, and lets us see Shakespeare and his world in a whole new light.

    Professor Weil introduces you to masterpieces such as Tolstoy's War and Peace, Dostoevsky's Crime and Punishment, Pushkin's Eugene Onegin, Gogol's Dead Souls, Chekhov's The Seagull, Pasternak's Doctor Zhivago, and many other great novels, stories, plays, and poems. In all, you plunge into more than 40 works by a dozen writers, from Aleksandr Pushkin in the 19th century to Aleksandr Solzhenitsyn in the 20th century. You also investigate the origin of Russian literature itself, which traces its lineage back to powerful epic poetry and beautiful renderings of the Bible into Slavic during the Middle Ages. All of these works are treated in translation, but Professor Weil does something very unusual in the literature-in-translation arena. For almost every passage that he quotes in English, he reads an extract in the original Russian, with a fluent accent and an actor's sense of drama.

    S. Lewis's famed but apparently disorganised Chronicles of Narnia have an underlying symbolic coherence, pointing to such possible unifying themes as the seven sacraments, the seven deadly sins, and the seven books of Spenser's Faerie Queene. None of these explanations has won general acceptance and the structure of Narnia's symbolism has remained a mystery.Michael Ward has finally solved the enigma. In Planet Narnia he demonstrates that medieval cosmology, a subject which fascinated Lewis throughout his life, provides the imaginative key to the seven novels. Drawing on the whole range of Lewis's writings (including previously unpublished drafts of the Chronicles), Ward reveals how the Narnia stories were designed to express the characteristics of the seven medieval planets - - Jupiter, Mars, Sol, Luna, Mercury, Venus, and Saturn - - planets which Lewis described as "spiritual symbols of permanent value" and "especially worthwhile in our own generation." Using these seven symbols, Lewis secretly constructed the Chronicles so that in each book the plot-line, the ornamental details, and, most important, the portrayal of the Christ-figure of Aslan, all serve to communicate the governing planetary personality. The cosmological theme of each Chronicle is what Lewis called 'the kappa element in romance', the atmospheric essence of a story, everywhere present but nowhere explicit. The reader inhabits this atmosphere and thus imaginatively gains connaitre knowledge of the spiritual character which the tale was created to embody.Planet Narnia is a ground-breaking study that will provoke a major revaluation not only of the Chronicles, but of Lewis's whole literary and theological outlook. Ward uncovers a much subtler writer and thinker than has previously been recognized, whose central interests were hiddenness, immanence, and knowledge by acquaintance."

    Laugh-out-loud funny, and sometimes heartbreakingly moving, these tiny plays in which every one of us could have a starring role are little windows into other people's lives that reveal the triumphs, disasters, prejudices, horrors and joys of twenty-first-century life.

    40 line drawings. Index.

    THE ONE-STOP, SINGLE-VOLUME COMPANION TO SHAKESPEARE'S GREATEST WORKS-HIS HISTORY PLAYS, COMEDIES, TRAGEDIA, ROMANCES, AND POETRYA portrait of Shakespeare's life and times: critics, contemporaries, patrons, and the era's vibrant theater.Full commentaries on all 39 plays including detailed plot summaries, a survey of dramatic interpretations on stage and screen, and an introduction to Shakespeare's sonnets and narrative poetry.Insight into Shakespeare's unique world, including his language, his sources of inspiration, and teh secret of his enduring universal appeal.

    Derek Attridge argues that such resistance represents not a dead end, but a crucial starting point from which to explore anew the power and practices of Western art.In this lively, original volume, the author:considers the implications of regarding the literary work as an innovative cultural event, both in its time and for later generations; provides a rich new vocabulary for discussions of literature, rethinking such terms as invention, singularity, otherness, alterity, performance and form; returns literature to the realm of ethics, and argues the ethical importance of the literary institution to a culture; demonstrates how a new understanding of the literary might be put to work in a 'responsible, ' creative mode of reading.The Singularity of Literature is not only a major contribution to the theory of literature, but also a celebration of the extraordinary pleasure of the literary, for reader, writer, student or critic.

    What is literature? Can we even speak of "literature" at all? What do different literary theories tell us about what texts mean and do? In throwing new light on these and other questions he has raised in previous best-sellers, Eagleton offers a new theory of what we mean by literature. He also shows what it is that a great many different literary theories have in common.In a highly unusual combination of critical theory and analytic philosophy, the author sees all literary work, from novels to poems, as a strategy to contain a reality that seeks to thwart that containment, and in doing so throws up new problems that the work tries to resolve. The "event" of literature, Eagleton argues, consists in this continual transformative encounter, unique and endlessly repeatable. Freewheeling through centuries of critical ideas, he sheds light on the place of literature in our culture, and in doing so reaffirms the value and validity of literary thought today.