The Steampunk Bible is the first compendium about the movement, tracing its roots in the works of Jules Verne and H. G. Wells through its most recent expression in movies such as Sherlock Holmes. Its adherents celebrate the inventor as an artist and hero, re-envisioning and crafting retro technologies including antiquated airships and robots. A burgeoning DIY community has brought a distinctive Victorian-fantasy style to their crafts and art. Steampunk evokes a sense of adventure and discovery, and embraces extinct technologies as a way of talking about the future. This ultimate manual will appeal to aficionados and novices alike as author Jeff VanderMeer takes the reader on a wild ride through the clockwork corridors of Steampunk history.Praise for The Steampunk Bible:"The Steampunk Bible is an informed, informative and beautifully illustrated survey of the subject." -The Financial Times"The Steampunk Bible is far and away the most intriguing catalog of all things steam yet written." -The Austin Chronicle “It’s hard to imagine how VanderMeer and Chambers could have put together a stronger collection. Its publication marks a significant, self-conscious moment in the history of the movement.”—PopMatters.com

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    Landmarks is about the power of language to shape our sense of place. It is a field guide to the literature of nature, and a glossary containing thousands of remarkable words used in England, Scotland, Ireland and Wales to describe land, nature and weather. Travelling from Cumbria to the Cairngorms, and exploring the landscapes of Roger Deakin, J. A. Baker, Nan Shepherd and others, Robert Macfarlane shows that language, well used, is a keen way of knowing landscape, and a vital means of coming to love it.

    Starting with the Vikings’ kennings and Beowulf and ending with Stevenson and Oscar Wilde, the book traverses a landscape of ‘precursors,’ cross-cultural borrowings, and genres of expression, all connected by Borges into a vast interpretive web. This is the most surprising and useful of Borges’s works to have appeared posthumously.”Borges takes us on a startling, idiosyncratic, fresh, and highly opinionated tour of English literature, weaving together countless cultural traditions of the last three thousand years. Borges’s lectures — delivered extempore by a man of extraordinary erudition — bring the canon to remarkably vivid life. Now translated into English for the first time, these lectures are accompanied by extensive and informative notes by the Borges scholars Martín Arias and Martín Hadis.

    We spin fantasies. We devour novels, films, and plays. Even sporting events and criminal trials unfold as narratives. Yet the world of story has long remained an undiscovered and unmapped country. It’s easy to say that humans are “wired” for story, but why?In this delightful and original book, Jonathan Gottschall offers the first unified theory of storytelling. He argues that stories help us navigate life’s complex social problems—just as flight simulators prepare pilots for difficult situations. Storytelling has evolved, like other behaviors, to ensure our survival.Drawing on the latest research in neuroscience, psychology, and evolutionary biology, Gottschall tells us what it means to be a storytelling animal. Did you know that the more absorbed you are in a story, the more it changes your behavior? That all children act out the same kinds of stories, whether they grow up in a slum or a suburb? That people who read more fiction are more empathetic?Of course, our story instinct has a darker side. It makes us vulnerable to conspiracy theories, advertisements, and narratives about ourselves that are more “truthy” than true. National myths can also be terribly dangerous: Hitler’s ambitions were partly fueled by a story.But as Gottschall shows in this remarkable book, stories can also change the world for the better. Most successful stories are moral—they teach us how to live, whether explicitly or implicitly, and bind us together around common values. We know we are master shapers of story. The Storytelling Animal finally reveals how stories shape us.

    Homer's poems occupy, as Adam Nicolson writes "a third space" in the way we relate to the past: not as memory, which lasts no more than three generations, nor as the objective accounts of history, but as epic, invented after memory but before history, poetry which aims "to bind the wounds that time inflicts."The Homeric poems are among the oldest stories we have, drawing on deep roots in the Eurasian steppes beyond the Black Sea, but emerging at a time around 2000 B.C. when the people who would become the Greeks came south and both clashed and fused with the more sophisticated inhabitants of the Eastern Mediterranean.The poems, which ask the eternal questions about the individual and the community, honor and service, love and war, tell us how we became who we are.

    Like many of Lukacs's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukacs's last great work before he turned to Marxism-Leninism.

    An indispensable work of science fiction criticism revised and expanded

    Great literature increases knowledge of and desire for the good life by showing readers what virtue looks like and where vice leads. It is not just what one reads but how one reads that cultivates virtue. Reading good literature well requires one to practice numerous virtues, such as patience, diligence, and prudence. And learning to judge wisely a character in a book, in turn, forms the reader's own character.Acclaimed author Karen Swallow Prior takes readers on a guided tour through works of great literature both ancient and modern, exploring twelve virtues that philosophers and theologians throughout history have identified as most essential for good character and the good life. In reintroducing ancient virtues that are as relevant and essential today as ever, Prior draws on the best classical and Christian thinkers, including Aristotle, Aquinas, and Augustine. Covering authors from Henry Fielding to Cormac McCarthy, Jane Austen to George Saunders, and Flannery O'Connor to F. Scott Fitzgerald, Prior explores some of the most compelling universal themes found in the pages of classic books, helping readers learn to love life, literature, and God through their encounter with great writing.In examining works by these authors and more, Prior shows why virtues such as prudence, temperance, humility, and patience are still necessary for human flourishing and civil society. The book includes end-of-chapter reflection questions geared toward book club discussions, features original artwork throughout, and includes a foreword from Leland Ryken.

    Now in a gorgeous new hardcover format with a four-color map of Middle-earth, this is the completely revised guide to every creature, place, and event from the great fantasy epic.

    A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else.Is this Shakespeare? Well, sort of.But it doesn't tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. Now, Emma Smith - an intellectually, theatrically, and ethically exciting writer - takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd, the Spielberg and Tarantino of their day; flirting with and skirting round the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex, and the Shakespeare she reveals in this book poses awkward questions rather than offering bland answers, always implicating us in working out what it might mean.

    1 in 1938, introduced the world to something both unprecedented and timeless: Superman, a caped god for the modern age. In a matter of years, the skies of the imaginary world were filled with strange mutants, aliens, and vigilantes: Batman, Wonder Woman, the Fantastic Four, Iron Man, and the X-Men—the list of names as familiar as our own. In less than a century, they’ve gone from not existing at all to being everywhere we look: on our movie and television screens, in our videogames and dreams. But what are they trying to tell us?For Grant Morrison, arguably the greatest of contemporary chroniclers of the “superworld,” these heroes are powerful archetypes whose ongoing, decades-spanning story arcs reflect and predict the course of human existence: Through them we tell the story of ourselves, our troubled history, and our starry aspirations. In this exhilarating work of a lifetime, Morrison draws on art, science, mythology, and his own astonishing journeys through this shadow universe to provide the first true history of the superhero—why they matter, why they will always be with us, and what they tell us about who we are . . . and what we may yet become.

    R. R. Tolkien’s talents is remarkable. Not only was he an accomplished linguist and philologist, as well as a scholar of Anglo-Saxon and medieval literature and Norse folklore, but also a skillful illustrator and storyteller. Drawing on these talents, he created a universe which is for many readers as real as the physical world they inhabit daily.Tolkien: Maker of Middle-earth explores the huge creative endeavor behind Tolkien’s enduring popularity. Lavishly illustrated with three hundred images of his manuscripts, drawings, maps, and letters, the book traces the creative process behind his most famous literary works—The Hobbit, The Lord of the Rings, and The Silmarillion—and reproduces personal photographs and private papers, many of which have never been seen before in print. Six essays introduce the reader to the person of J. R. R. Tolkien and to main themes in his life and work, including the influence of northern languages and legends on the creation of his own legendarium; his concept of “Faërie” as an enchanted literary realm; the central importance of his invented languages in his fantasy writing; his visual imagination and its emergence in his artwork; and the encouragement he derived from his close friend C. S. Lewis and their literary group the Inklings. The book brings together the largest collection of original Tolkien material ever assembled in a single volume. Drawing on the extensive archives of the Tolkien collections at the Bodleian Libraries, Oxford, which stretch to more than five hundred boxes, and Marquette University, Milwaukee, as well as private collections, this hugely ambitious and exquisitely produced book draws together the worlds of J. R. R. Tolkien – scholarly, literary, creative, and domestic—offering a rich and detailed understanding and appreciation of this extraordinary author. This landmark publication, produced on the occasion of a major exhibition at the Bodleian Libraries in Oxford in 2018 and at the Morgan Library in New York in 2019, is set to become a standard work in the literature on J. R. R. Tolkien.