A paragon of remorseless evil, Barabas befriends and betrays the Turkish invaders and native Maltese alike, incites a duel between the suitors for his daughter's hand, and takes lethal revenge upon a convent of nuns.Both tragedy and farce, this masterpiece of Elizabethan theater reflects the social and political complexities of its age. Christopher Marlowe's dramatic hybrid resonates with racial tension, religious conflict, and political intrigue — all of which abounded in 16th-century England. The playwright, who infused each one of his plays with cynical humor and a dark world view, draws upon stereotypes of Muslim and Christian as well as Jewish characters to cast an ironic perspective on all religious beliefs.The immediate success of The Jew of Malta on the Elizabethan stage is presumed to have influenced Marlowe's colleague, William Shakespeare, to draw upon the same source material for The Merchant of Venice. The character of Barabas is the prototype for the well-known Shylock, and this drama of his villainy remains a satirical gem in its own right.

    An example is the heroine of the of the story “Anika's Times“(1931). Anika is a woman who wreaks havoc in Višegrad through the unpredictable distribution of her favours. The impact she made is still spoken of when the story opens, several generations later. Anika is a self-willed creature whose defiance of convention – flouted initially out of pique with a particular young man – predictably brings her no happiness to the extent that she welcomes the prospect of the inevitable retribution her as a relief for herself and others: “It would be an act of charity of someone would kill me”, she repeats several times before her death. In this way Anika herself is not entirely in control of her destiny, but is the vehicle of an overwhelming power over men. The story of Anika is given an additional dimension in the form of an explanatory introduction the exact meaning of which is perhaps not immediately clear, but emerges from the account of “Anika’s Times”. This introduction describes the growing schizophrenia of the parish priest of a village outside Višegrad and his obsessive, furtive watching of women. As long as the villagers speak of him they tend to be reminded also of Anika. There is only a tenuous connection between her and father Vujadin, so that the association of the two stories in the villagers’ minds seems to suggest a more profound link. Vujadin’s madness is not directly attributable to his experience of women; he has become cut off from his fellow-men by a variety of factors. But as he steadily loses touch with society, women seem to loom ever larger in his consciousness. In this aspect of his madness that seems to disturb the villagers and urge them to give it form in their recollection of the legend of Anika. Within the framework of the story “Anika's Times“, this introduction appears as a kind of meditation on man's perennial need to control and account for his powerful response to woman, the need which led to the creation of the legend of Adam and Eve.

    Unlike most studies, which assume that the "rise of the West" is the story of the coming of the modern world, this history, drawing upon new scholarship on Asia, Africa, and the New World, constructs a story in which those parts of the world play major roles. Robert B. Marks defines the modern world as one marked by industry, the nation state, interstate warfare, a large and growing gap between the wealthiest and poorest parts of the world, and an escape from "the biological old regime." He explains its origins by emphasizing contingencies (such as the conquest of the New World); the broad comparability of the most advanced regions in China, India, and Europe; the reasons why England was able to escape from common ecological constraints facing all of those regions by the 18th century; and a conjuncture of human and natural forces that solidified a gap between the industrialized and non-industrialized parts of the world. Now in a new edition that brings the saga of the modern world to the present, the book considers how and why the United States emerged as a world power in the twentieth century and became the sole superpower by the twenty-first century. Once again arguing that the rise of the United States to global hegemon was contingent, not inevitable, Marks also points to the resurgence of Asia and the vastly changed relationship of humans to the environment that may, in the long run, overshadow any political and economic milestones of the past hundred years.

    Written in a period of conservative reaction in Britain, the novel recalls the earlier radical era of the 1790s. Encouraged by her mother to pursue an interest in radical social ideas, Adeline Mowbray innocently puts her theories of idealized love into practice. Her attempt to live with the philosopher Frederic Glenmurray outside marriage is condemned by both her mother and society. Adeline and Glenmurray's relationship becomes the focal point for Opie's satire on society's attitudes to education, women, marriage, masculine and feminine codes of honour, filial loyalty and the struggle to justify individual choice. This Oxford World's Classics volume is currently the only critical edition of Adeline Mowbray available.

    From our first steps to our last words, we are what we learn. Our education predicts our earnings, our contentment, even how long we'll live. But for all its obvious importance, learning has lost touch with human progress. We live in an information age, work in a knowledge economy, yet our schools remain relics of an industrial era.No more. In Natural Born Learners, Alex Beard takes us on a dazzling tour of the future of learning to show how today we can - and must - do better. Combining expert insight, entertaining anecdote and intelligent research, Beard leads us from the crowded corridors of a South London comprehensive to the high-tech halls of Silicon Valley, through the exam factories of South Korea to the inclusive classrooms of Finland.Tackling everything from artificial intelligence to our growing understanding of the infant brain, and from the content of our character to the way classrooms are unwitting engines of extremism, Beard shows that we're on the cusp of a revolution - and that learning in the twenty-first century must change in order for us to access our better future selves.

    But what do we mean by 'the bush', and how has it shaped us? Starting with his forebears' battle to drive back nature and eke a living from the land, Don Watson explores the bush as it was and as it now is: the triumphs and the ruination, the commonplace and the bizarre, the stories we like to tell about ourselves and the national character, and those we don't. Via mountain ash and mallee, the birds and the beasts, slaughter, fire, flood and drought, swagmen, sheep and their shepherds, the strange and the familiar, the tragedies and the follies, the crimes and the myths and the hope – here is a journey that only our leading writer of non-fiction could take us on. At once magisterial in scope and alive with telling, wry detail, The Bush lets us see our landscape and its inhabitants afresh, examining what we have made, what we have destroyed, and what we have become in the process. No one who reads it will look at this country the same way again.

    Edited with an introduction, notes and a glossary by Dennis Walder, a leading critic of South African literature, this book collects his five township plays: Nongogo, No-Good Friday, Sizure Bansi is Dead, The Island and The Coat, the latter of which has never been published in Britain before.

    Strongly autobiographical, it vividly conveys the intensely felt worlds of the adolescent - love, poetry and England - and the enthralling but sometimes painful experience of growing up female; and its picture of family life in early-twentieth-century Wellington, in all its physical details, emotional tensions, muddle and variety, lingers in the mind.

    Not only have traditional forms of art such as printing, painting, photography and sculpture been transformed by digital techniques and media, but entirely new forms such as net art, software art, digital installation and virtual reality have emerged as recognized artistic practices, collected by major museums, institutions and private collectors the world over. Here Christiane Paul surveys the developments in digital art from its appearance in the early 1990s right up to the present day, and looks ahead to what the future may hold. Drawing a distinction between work that uses digital technology as a tool to produce traditional forms and work that uses it as a medium to create new types of art, she discusses all the key artists and works. The book explores themes addressed and raised by the art, such as viewer interaction, artificial life and intelligence, political and social activism, networks and telepresence, as well as issues such as the collection, presentation and preservation of digital art, the virtual museum, and ownership and copyright.

    It is a world where everything impossible effortlessly becomes possible and everything real, unreal. In the hands of Lewis Carroll the heights of adventure are limited only by the reach of imagination. In the words of a contemporary of Carroll's, "if there be such a thing as perfection in children's tales

    It finds its ferment at the intersection of ecological and economic catastrophe. Its feminist and celebratory energy is fueled by street protests and their shattered windows. Amid oil spills and austerity measures and shore birds and a child holding its mother’s hand and hissing teargas canisters, it reminds us exactly what we must fight to defend with a wild ferocity, and what we’re up against."In her poems, love does not resist the world beyond; love lets it in. Politics demands feeling rather than denuding it."  —Los Angeles Review of Books"Geography, economics, ecology, hydrology, local and international history; repetition, flat limited diction, lengthy chant; intersections of incompatible discourses, such as a field biologist’s checklist plus memoir, medical record plus ode, incantation plus site report: Spahr draws on these resources and procedures to make poems that feel like bizarre, careful essays, and essays that feel like sad, extended poems."  —The Nation"...a work of crisp wit, bizarre conjunctions and ultimately enduring moral authority."  —Publisher’s WeeklyExcerpt: It was Non-Revolution. Or it was me. Or it was Non-Revolution and me. I was unsure what it really was. Maybe it was my thoughts. My thoughts at one minute about Non-Revolution. About the smell of Non-Revolution. Sweat, urine, sage, pot, rotting food, hay, all mixed together. Perhaps about Non-Revolution’s body. I am sure I am not the only one who has thought it exceptional, but I am also just as sure that by the standards of bodies, Non-Revolution’s is fine but not exceptional. That is the point. That is why Non-Revolution is called Non-Revolution, why they have revolution as a possibility in their name but it is a modified and thus negated possibility so as to suggest they are possibly neither good nor fucked. Still something about Non-Revolution’s smell and body had gotten into me.

    This novel describes a day in the life of Bakha, sweeper and toilet-cleaner, as he searches for a meaning to the tragic existence he has been born into - and comes to an unexpected conclusion.

    But when one of her brothers goes hunting and never returns, the fragile balance of life is upset. Half-starved and maddened with grief, Alaia's mother follows her visions and goes in search of her lost son. Then a stranger from a rival tribe appears on their hearth seeking shelter. Are his stories of a great wave and a people perished really to be believed? What else could drive a man to travel alone between tribes in the depths of winter?Hopes of resolution come when Alaia's mother returns home as a Go-Between, one able to commune with the spirits. But as all the Auk people come together for their annual Gathering Night, who there will listen to the voice of a woman?The Gathering Night is a story of conflict, loss, love, adventure and devastating natural disasters. This utterly enchanting pre-historical novel is set deep in our stone-age past, but resonates as a parable of our troubled planet 8000 years on.

    This book is about everything that happens while you’re reading – in front of your eyes and inside your head – and about what type designers, typographers and graphic designers bring to a page to make it happen.Renowned type designer Gerard Unger distills decades of design experience into a playful, accessible text that reflects the range of his professional projects, from designing the fonts read daily by millions in USA Today to being responsible for the look of the highway and metro signs in the Netherlands.For Unger, regardless of the application, designers should always consider two important questions: How is it possible to read without seeing any letters? To what extent do all readers possess hidden typographic knowledge? Keeping these two core ideas in mind, Unger explores such topics as legibility, invisible typography, pattern recognition, the reading process, the ergonomics of letterforms, the universe of signs, negative space and typographic illusions.The most seasoned typographers and designers will find as much value in this fresh, first-ever English translation as beginners and the curious who have always wondered how reading happens.

    The first of the great South African novels chronicles the adventures of three childhood friends who defy societal repression. The novel's unorthodox views on religion and marriage aroused widespread controversy upon its 1883 publication, and the work retains in power more than a century later. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.