Tolkien assembled in this new paperback edition were with one exception delivered as general lectures on particular occasions; and while they mostly arose out of Tolkien’s work in medieval literature, they are accessible to all. Two of them are concerned with Beowulf, including the well-known lecture whose title is taken for this book, and one with Sir Gawain and the Green Knight, given in the University of Glasgow in 1953.Also included in this volume is the lecture English and Welsh; the Valedictory Address to the University of Oxford in 1959; and a paper on Invented Languages delivered in 1931, with exemplification from poems in the Elvish tongues. Most famous of all is On Fairy-Stories, a discussion of the nature of fairy-tales and fantasy, which gives insight into Tolkien’s approach to the whole genre.The pieces in this collection cover a period of nearly thirty years, beginning six years before the publication of The Hobbit, with a unique ‘academic’ lecture on his invention (calling it A Secret Vice) and concluding with his farewell to professorship, five years after the publication of The Lord of the Rings.

    Machiavelli's classic book on statecraft, The Prince, published over 400 years ago, remains controversial to this day because of its electrifying frankness as a practical guide to power. It is a how-to manual for dictators, a cynical philosophy of the end justifies the means, or a more complex and subtle analysis of successful government?

    These culminated in What is Art?, published in 1898. Although Tolstoy perceived the question of art to be a religious one, he considered & rejected the idea that art reveals & reinvents through beauty. The works of Dante, Michelangelo, Shakespeare, Beethoven, Baudelaire & even his own novels are condemned in the course of Tolstoy's impassioned & iconoclastic redefinition of art as a force for good, for the improvement of humankind.

    It is both witness and tribute to the late theory of mind—the so-called structural theory, with its stress on aggression, indeed the death drive, as the pitiless adversary of eros.Civilization and Its Discontents is one of the last of Freud's books, written in the decade before his death and first published in German in 1929. In it he states his views on the broad question of man's place in the world, a place Freud defines in terms of ceaseless conflict between the individual's quest for freedom and society's demand for conformity.Freud's theme is that what works for civilization doesn't necessarily work for man. Man, by nature aggressive and egotistical, seeks self-satisfaction. But culture inhibits his instinctual drives. The result is a pervasive and familiar guilt.Of the various English translations of Freud's major works to appear in his lifetime, only one was authorized by Freud himself: The Standard Edition of the Complete Psychological Works of Sigmund Freud under the general editorship of James Strachey.Freud approved the overall editorial plan, specific renderings of key words and phrases, and the addition of valuable notes, from bibliographical and explanatory. Many of the translations were done by Strachey himself; the rest were prepared under his supervision. The result was to place the Standard Edition in a position of unquestioned supremacy over all other existing versions.

    Caught between consumerism and casual sexual encounters devoid of passion, love today - without the key ingredient of chance - is in mortal danger. Alain Badiou proposes a vision of love as an adventure of the individual.Liberal and libertine reductions of love to instant pleasure and non-commitment bite the dust as Badiou invokes a supporting cast of thinkers from Plato to Lacan via Karl Marx to create a new narrative of romance, relationships and sex - one that does not fear love.

    This work traces his understanding of the cognitive realities involved in the use of language and the technical apparatus needed to represent it.

    The author has now revised the original edition to clear up a number of difficulties he and others have found in the original book.Rawls aims to express an essential part of the common core of the democratic tradition - justice as fairness - and to provide an alternative to utilitarianism, which had dominated the Anglo-Saxon tradition of political thought since the nineteenth century. Rawls substitutes the ideal of the social contract as a more satisfactory account of the basic rights and liberties of citizens as free and equal persons. "Each person," writes Rawls, "possesses an inviolability founded on justice that even the welfare of society as a whole cannot override." Advancing the ideas of Rousseau, Kant, Emerson, and Lincoln, Rawls's theory is as powerful today as it was when first published.

    First published in 1972, it was based on the BBC television series about which the (London) Sunday Times critic commented: "This is an eye-opener in more ways than one: by concentrating on how we look at paintings . . . he will almost certainly change the way you look at pictures." By now he has."Berger has the ability to cut right through the mystification of the professional art critics . . . He is a liberator of images: and once we have allowed the paintings to work on us directly, we are in a much better position to make a meaningful evaluation" —Peter Fuller, Arts Review"The influence of the series and the book . . . was enormous . . . It opened up for general attention to areas of cultural study that are now commonplace" —Geoff Dyer in Ways of TellingWinner of the 1972 Booker Prize for his novel, G., John Peter Berger (born November 5th, 1926) is an art critic, painter and author of many novels including A Painter of Our Time, From A to X and Bento’s Sketchbook.

    I write poetry... I believe poetry is a primal impulse within all of us. I believe we are all capable of it and furthermore that a small, often ignored corner of us positively yearns to try it. —Stephen Fry, The Ode Less Travelled Stephen Fry believes that if one can speak and read English, one can write poetry. Many of us have never been taught to read or write poetry and think of it as a mysterious and intimidating form. Or, if we have been taught, we remember uncomfortable silence when an English teacher invited the class to "respond" to a poem. In The Ode Less Travelled, Fry sets out to correct this problem by giving aspiring poets the tools and confidence they need to write poetry for pleasure. Fry is a wonderfully engaging teacher and writer of poetry himself, and he explains the various elements of poetry in simple terms, without condescension. His enjoyable exercises and witty insights introduce the concepts of Metre, Rhyme, Form, Diction, and Poetics. Aspiring poets will learn to write a sonnet, on ode, a villanelle, a ballad, and a haiku, among others. Along the way, he introduces us to poets we've heard of, but never read. The Ode Less Travelled is a lively celebration of poetry that makes even the most reluctant reader want to pick up a pencil and give it a try. BACKCOVER: Advanced Praise: “Delightfully erudite, charming and soundly pedagogical guide to poetic form… Fry has created an invaluable and highly enjoyable reference book.” —Publishers Weekly “A smart, sane and entertaining return to the basics… If you like Fry’s comic manner… this book has a lot of charm… People entirely fresh to the subject could do worse than stick with his cheerful leadership.” —The Telegraph (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK) "If you learn how to write a sonnet, and Fry shows you how, you may or may not make a poem. But you will unlock the stored wisdom of the form itself." —Grey Gowrie, The Spectator (UK) “…intelligent and informative, a worthy enterprise well executed.” —Observer (UK)

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    Simply, it is the study of what modern society is and how it functions. In the series’ inimitable style, Introducing Sociology traces the origins of sociology from industrialization, revolution and the Enlightenment through to globalization, neoliberalism and the fear of nationalism – introducing you to key thinkers, movements and concepts along the way. You will develop insight into the world around you, as you engage your ‘sociological imagination’ and explore studies of the city, theories of power and knowledge, concepts of national, racial and sexual identity, and much more.

    A far-reaching exploration of the idea of creation in Western thought, literature, religion, and history, this volume can fairly be called a magnum opus. He reflects on the different ways we have of talking about beginnings, on the "coretiredness" that pervades our end-of-the-millennium spirit, and on the changing grammar of our discussions about the end of Western art and culture. With his well-known elegance of style and intellectual range, Steiner probes deeply into the driving forces of the human spirit and our perception of Western civilization's lengthening afternoon shadows.Roaming across topics as diverse as the Hebrew Bible, the history of science and mathematics, the ontology of Heidegger, and the poetry of Paul Celan, Steiner examines how the twentieth century has placed in doubt the rationale and credibility of a future tense -- the existence of hope. Acknowledging that technology and science may have replaced art and literature as the driving forces in our culture, Steiner warns that this has not happened without a significant loss. The forces of technology and science alone fail to illuminate inevitable human questions regarding value, faith, and meaning. And yet it is difficult to believe that the story out of Genesis has ended, Steiner observes, and he concludes this masterful volume of reflections with an eloquent evocation of the endlessness of beginnings.

    Introducing Feminism surveys the major developments that have affected women's lives from the seventeenth century to the present day."Readers who have forgotten the struggles of women who came generations—and centuries—before will appreciate this handsome little guide introducing the basics of feminist theory. Although far from an academic study, the cartoon-drawing format and merry black-and-white illustrations will render the book popular among younger groups in need of a rapid overview of the movement. From Mary Wollstonecraft to Betty Friedan, the diminutive volume offers a chronological history of feminism in its nascent roots in colonial times, to the 1960s Women's Movement and its modern form today. Most notable, the book places a large emphasis on the struggles of African-American women, highlighting the lives and careers of such activists as Sojourner Truth, Harriet Tubman, bell hooks and Audre Lorde. Another standout section covers Germaine Greer, a proponent of the idea that 'heterosexuality is a form of oppression, conditioning women to conform to their society's expectations of femininity and encouraging them to believe that their value depends on their appeal to men.'"— Kirkus Reviews

    Arnold seeks to find out what culture really is, what good it can do, and if it is really necessary. He contrasts culture, which he calls the study of perfection, with anarchy, the mood of unrest and uncertainty that pervaded mid-Victorian England. This edition reproduces the original book version, revealing the immediate historical context and controversy of the piece. The introduction and notes broaden out the interpretative approach to Arnold's text, elaborating on the complexities of the religious context. The book also reinforces the continued importance of Arnold's ideas its influences in the face of the challenges of multi-culturalism and post-modernism.

    In true emulative and contrarian style, Hitchens is both admiring and aggressive, sympathetic yet critical, taking true measure of his subject as hero and problem. Answering both the detractors and the false claimants, Hitchens tears down the façade of sainthood erected by the hagiographers and rebuts the critics point by point. He examines Orwell and his perspectives on fascism, empire, feminism, and Englishness, as well as his outlook on America, a country and culture towards which he exhibited much ambivalence. Whether thinking about empires or dictators, race or class, nationalism or popular culture, Orwell's moral outlook remains indispensable in a world that has undergone vast changes in the fifty years since his death. Combining the best of Hitchens's polemical punch and intellectual elegance in a tightly woven and subtle argument, this book addresses not only why Orwell matters today, but how he will continue to matter in a future, uncertain world. Christopher Hitchens, one of the most incisive minds of our own age, meets Orwell on the page in this provocative encounter of wit, contention and moral truth.