The text also contains 11 complete works such as Oroonoko, Jane Eyre, The Ballad of the Sad Cafe, The Awakening and Caryl Churchill's play, Top Girls.

    A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a thorough and readable analysis of each of the novels in question. The books in the series will all follow the same structure:a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or TV adaptations, literary prizes, etc.; a wide range of suggestions for further reading, including websites and discussion forums; and a list of questions for reading groups to discuss.

    Mina Curtiss especially chose them as apt illustrations of Proust's growing sensibility and intellectual power during the gestation of the novel.Indeed, many of the characters in the book are drawn from the men and women we meet here. The letters are also exciting as an unfolding panorama of the Belle Epoque and for their superb insights into literature, art and music.Published by Helen Marx Books and Books & Co.

    Includes: background on Stoker's classic, and the literary history of the vampire novel; commentary by leading contemporary writers; a selected filmography of major vampire films; and dozens of illustrations.

    Here are tales told by members from all parts of English society of the 14th century, reflecting on life as they travel the road from Southwark to Canterbury.

    Our language even has a word—Machiavellian—that encapsulates the images those responses conjure up: An indistinct figure quietly making his way through the darkest corridors of power, hatching plots to play one rival against another A cold-blooded political liar, ready to justify any duplicity undertaken in the name of a noble end that will ultimately justify the most malignant means A coolly practical leader—amoral at best—willing to do whatever is necessary in a world governed not by ideas of right or wrong, but by solutions dictated by realpolitik.But does the Machiavelli most of us think we know bear any resemblance to the Machiavelli who lived, pondered, and wrote?According to Professor William R. Cook, a reading of Machiavelli that considers only those qualities that we today call "Machiavellian" is incomplete, and Machiavelli himself "certainly would not recognize" such sinister interpretations or caricatures of his writings and beliefs. Indeed, The Prince—on the pages of which so much of this image was built—was not even published in his lifetime.In the 24 lectures that make up Machiavelli in Context, Professor Cook offers the opportunity to meet an extraordinarily thoughtful and sincere student of history and its lessons, and to learn that there is far more to him than can be gleaned from any reading of The Prince, no matter how thorough.Although The Prince is the work by which most of us think we know Machiavelli, and although some have indeed called it the first and most important book of political science ever written, it was not, according to Professor Cook, either Machiavelli's most important work or the one most representative of his beliefs. Those distinctions belong, instead, to his Discourses on the First Ten Books of Livy, a longer work started at about the same time and which would, like The Prince, not be published until well after his death."Everyone who has seriously studied the works of Machiavelli agrees that he ... believed in the superiority of a republican form of government, defined as a mixed constitution with elements of monarchy, aristocracy, and democracy."Once we recover the context of the writing of The Prince, and analyze it along with the Discourses on the First Ten Books of Livy, it will be clear how The Prince can be read as a book designed to guide leaders in the creation—for Machiavelli, restoration—of republican government in Italy."Ultimately, Machiavelli's goal wasn't much different from ours. It was to live in a free and equal participatory society, because he believed that was the greatest way in which human beings could live and flourish."In fact, says Professor Cook, "Machiavelli's republican thought influenced the development of institutions and values both in Europe and in America."To present a complete and well-rounded picture of Machiavelli's ideas on how human societies should be organized and governed, Professor Cook sets aside much of Machiavelli's written output—which included the political work The Art of War, a biography, many letters, and even some plays—to focus on The Prince, the Discourses, and, more briefly, his Florentine Histories.In doing so, Professor Cook draws on the same qualities so evident in his previous courses for The Teaching Company: Tocqueville and the American Experience, Dante's Divine Comedy, Francis of Assisi, and St. Augustine's Confessions.Teaching in the relaxed and informal style of those courses, Professor Cook moves easily among the different disciplines so pertinent to an understanding of Machiavelli's ideas, including history, philosophy, government, and the elements of leadership. He is unfailingly clear, always provides any definitions needed to understand the material at hand, and is always ready with a touch of wit whenever that is appropriate.Because so much of our contemporary misunderstanding of Machiavelli's ideas comes from a lack of context, Professor Cook carefully sets the stage for a complete perspective of Machiavelli's world.Long before he turns to the works themselves, you'll have learned about Florence and its political history, both before and during Machiavelli's lifetime; the developing Renaissance culture of Machiavelli's time, especially as it bears on the use of ancient political thought by writers and political leaders; and Machiavelli's own life story, including his education, service to the Florentine Republic, years spent in exile south of Florence, and the ways each period of his life affected his writings.The result is a thorough grounding in the information one needs to understand and appreciate this stunningly original thinker.You'll learn, for example, what Machiavelli means when he discusses the important ideas of virtù and Fortuna.Though these are today invariably translated as virtue and fortune, Machiavelli's meanings can involve much more. Though he sometimes uses virtù in the sense we would understand today, he often uses the word—which comes from the classical Latin word for Man—as a means of describing the way one practices successful statecraft: aggressively, with no reluctance to use lies, deceit, and cruelty that may be required to maintain power, and hence the stability the people deserve.In a similar way Machiavelli uses Fortuna in a different sense than might have been used by, say, Dante when he describes the vagaries of fate over which we have no control.Instead, Machiavelli uses the adage, "Fortune is like a river." Though we cannot control fortune, which may well choose to make the river flood, a good ruler, practicing virtù, can indeed prepare for it, and thus modify its effects.You'll see how Machiavelli first became exposed to history and one of its earliest great practitioners—the Roman historian, Livy—through his own experience of Fortuna.Though printed books such as Livy's Early History of Rome were too expensive for a family like the young Machiavelli's in the 15th century, his father did own a copy. He had written the index, and a copy of the book had been part of his payment. Thus Machiavelli grew up with the volumes about which he would one day write his own most important work, Discourses on the First Ten Books of Livy.You'll be introduced to Cesare Borgia, the son of Pope Alexander VI and the man regarded as Machiavelli's model for The Prince, especially in the way his actions embodied the virtù so important to Machiavelli.Professor Cook brings this out in a shocking story of Borgia's use of a tough and merciless Spaniard—Ramiro d'Orco—to impose order and stability on the area of north central Italy known as the Romagna that had come under Borgia's rule and was beset by crime and violence.D'Orco's brutal methods had the desired effect. And when the job was completed, the local people emerged from their homes one morning to find the two halves of Ramiro d'Orco's body on opposite sides of the town square of Cesana, because d'Orco had been too tough, and Cesare Borgia needed a way to advertise further his concern for the people whose loyalty he wanted.The story also embodies, for Machiavelli, the idea that cruelty can be "well-used," just as being merciful—withholding such cruelty when a leader deems it needed—may be less than merciful in its long-term impact.Finally, you will get to see, throughout these lectures, the development of Machiavelli's reliance on history for its lessons, his role as a Renaissance Humanist thinker, and the emergence of his republican views, which still have tremendous influence today as we ask how republics start, grow, succeed, or fail.As Professor Cook notes, we are not going to agree with all of Machiavelli's answers. But his commitment to asking the right questions—to thinking, reflecting, and learning everything history has to teach us about the best ways to govern and safeguard the future—was total.

    Austen scholar Deirdre Le Faye first gives an overview of the period, from foreign affairs to social ranks, from fashion to sanitation. She goes on to consider each novel individually.

    The most wide-ranging collection of its kind, The Norton Introduction to Poetry offers a complete course in reading and writing about poetry that is designed to appeal to students of all backgrounds, abilities, and interests.It not only sharpens students close-reading skills and deepens their appreciation for the emotional power of poetry, but also connects poetry to the larger world by providing a thorough introduction to poetry 's authorial, cultural, and critical contexts.

    Foundations 2. The Epic of Gilgamesh 3. Genesis and the Documentary Hypothesis 4. The Deuteronomistic History 5. Isaiah 6. Job 7. HomerThe Iliad 8. HomerThe Odyssey 9. Sappho and Pindar 10. Aeschylus 11. Sophocles 12. Euripides 13. Herodotus 14. Thucydides 15. Aristophanes 16. Plato 17. Menander and Hellenistic Literature 18. Catullus and Horace 19. Virgil 20. Ovid 21. Livy, Tacitus, Plutarch 22. Petronius and Apuleius 23. The Gospels 24. Augustine 25. Beowulf 26. The Song of Roland 27. El Cid 28. Tristan and Isolt 29. The Romance of the Rose 30. Dante AlighieriLife and Works 31. Dante AlighieriThe Divine Comedy 32. Petrarch 33. Giovanni Boccaccio 34. Sir Gawain and the Green Knight 35. Geoffrey ChaucerLife and Works 36. Geoffrey ChaucerThe Canterbury Tales 37. Christine de Pizan 38. Erasmus 39. Thomas More 40. Michel de Montaigne 41. François Rabelais 42. Christopher Marlowe 43. William ShakespeareThe Merchant of Venice 44. William ShakespeareHamlet 45. Lope de Vega 46. Miguel de Cervantes 47. John Milton 48. Blaise Pascal 49. Molière 50. Jean Racine 51. Sister Juana Inés de la Cruz 52. Daniel Defoe 53. Alexander Pope 54. Jonathan Swift 55. Voltaire 56. Jean-Jacques Rousseau 57. Samuel Johnson 58. Denis Diderot 59. William Blake 60. Johann Wolfgang von Goethe 61. William Wordsworth 62. Jane Austen 63. Stendhal 64. Herman Melville 65. Walt Whitman 66. Gustave Flaubert 67. Charles Dickens 68. Fyodor Dostoevsky 69. Leo Tolstoy 70. Mark Twain 71. Thomas Hardy 72. Oscar Wilde 73. Henry James 74. Joseph Conrad 75. William Butler Yeats 76. Marcel Proust 77. James Joyce 78. Franz Kafka 79. Virginia Woolf 80. William Faulkner 81. Bertolt Brecht 82. Albert Camus 83. Samuel Beckett 84. ConclusionListening Length: 42 hours and 55 minutes

    A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a through and readable analysis of each of the novels in question. The books in the series all follow the same structure: a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or television adaptations, literary prizes, and so forth; a wide range of suggestions for further reading, including web sites and discussion forums; and a list of questions for reading groups to discuss.

    Collections of interviews with notable modern writers

    An ugly duckling spends an unhappy year ostracized by the other animals in the barnyard before he grows into a beautiful swan.

    The authors of the essays on recent criticism and productions are Heather DuBrow, University of Wisconsin at Madison, and William Liston, Ball State University, respectively.

    This selection of critical writings reveals a different side of the great writer--the deep and serious reader of literature and philosophy, and the eloquent and original thinker about society and art. This illuminating collection includes "The Portrait of Mr. W. H.," "In Defense of Dorian Gray," reviews, and the writings from Intentions (1891), including "The Decay of Lying," "Pen, Pencil, Poison," and "The Critic as Artist."For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    This stimulating selection of criticism reveals him as a worshipper at the altar of beauty, illuminating his belief that the pursuit of this ideal must be paramount in artistic expression. Reviews of exhibitions discuss works by great painters such as Delacroix and Ingres in fascinating detail, and Of Virtuous Plays and Novels sees Baudelaire as an avenging angel in defence of true art. Writings on Poe, Flaubert and Gautier evoke a profound understanding of fellow artists, while his single excursion into musical criticism, Richard Wagner and Tannhauser in Paris, displays an incisive awareness of the magical power of suggestion in music.