Edward everett root jun 2021 (4 résultats)

Taschenbuch. Etat : Neu. Neuware - Ethel Colburn Mayne (1865-1941) is a now largely forgotten Anglo-Irish writer who was born and raised in Ireland, but settled in London to pursue a literary career in 1905. She became a respected literary figure there, publishing novels, short stories, biographies and translations. It is for her short stories that she received the greatest acclaim, often being compared to Henry James and Katherine Mansfield.Mayne published six collections of stories between 1898 and 1925. This book offers a selection of the best stories from these collections, with a particular focus on stories that have an Irish setting and/or Irish characters. The stories printed in this volume are preceded by an introduction that gives an overview of Mayne's life and career and places her work, and her short fiction in particular, within the literary context of the time. Mayne's first story came out in The Yellow Book under the pen-name of Frances E. Huntly in 1895. She then published novels: Jessie Vandeleur (1902), The Fourth Ship (1908), Gold Lace: A Study of Girlhood (1913), One of Our Grandmothers (1916), and her collections of stories, including Things That No One Tells (1910).Mayne's work is out of print and has been for a long time. She has received some attention recently as a contributor and sub-editor of The Yellow Book and her early work has been classed alongside that of other (Irish) New Woman writers. Yet, the rest of her work is interesting and significant as well: her short fiction bridges the gap between fin-de-siècle symbolism and the modernist short story, while her novels and some or her short stories give an invaluable perspective on the constrained lives of the daughters of the Anglo-Irish gentry in the late nineteenth century.Her work certainly deserves to be better known, much like that of contemporaries like Norah Hoult (who knew her), George Egerton, Katharine Tynan or L.T. Meade who have also received renewed attention in recent years. A bibliography is also provided.…

Taschenbuch. Etat : Neu. Neuware - In this expanded and much revised new edition Professor Holderness reassesses the Bard as a writer in the light of the most recent 'revolution' in bibliography and textual studies. This has shifted much opinion about the playwright, how he worked, and with whom he collaborated. Yet there remain many unsolved riddles. / This is a book about unresolved (and unresolvable ) questions about Shakespeare, and about writing, creativity and its study. / Professor Holderness reviews the current debates in textual theory and practice. He concludes that 'Shakespeare' is not a writer but a collection of documents, none of which can with any certainty be linked to whatever it was the author wanted to say. He goes beyond both traditional and 'materialist' bibliography to show that texts are both physical media, made and remade by a series of craftspeople; and rich repositories of changeable meaning. / According to modern literary studies all texts are copies, always already changed, and there are no 'originals'. Editors are translators; and scholars and critics rewrite the writing they study. The book advocates a recovery of ancient concepts such as creativity and imagination, together with a recognition of the technical and essentially collaborative nature of all writing. Shakespeare is then situated within this theoretical context, via a brief history of the plays' textual reproduction. / A series of chapters on individual plays provides illustrative examples of such textual activities in practice. The book concludes that all Shakespeare scholarship, editing and criticism are devoted to a quest for something missing: not the lost manuscript (which even if recovered would not in any case answer all our questions), but rather the absence that writing always invokes. / Contents: New Introduction to revised edition. / Chapter One: Text. / Chapter Two: Matter. / Chapter Three: Originals. / Chapter Four: Texts and Contexts: King Lear. / Chapter Five: Visions and Revisions: Hamlet. / Chapter Six: Notes and Queries: Macbeth. / Chapter Seven: Now you see me, now you don't: Hamlet. / Chapter Eight: Writing and Fighting: Henry V. Conclusion: Writing in the Dust. / Notes and Bibliography. / Index.…

Buch. Etat : Neu. Neuware - The idea of the Devil has proved to be one of the most powerful and fascinating that the human mind has come up with. People everywhere find the idea plausible and powerful. Its changes and the uses to which it has been put tell us much about wider changes in thinking, culture and society. And we can be sure he will be with us for a long time to come. This new book is a highly original philosophical and historical analysis of this key figure in all cultures. / The Devil is an idea or concept - and as such has a history. The essential and distinctive idea is not that he is the source of evil but that he is malevolent. He knowingly wills the bad. Other key notions are that he is a spiritual being, of immense power, and that he is a person or entity. …

Buch. Etat : Neu. Neuware - In this expanded and much revised new edition Professor Holderness reassesses the Bard as a writer in the light of the most recent 'revolution' in bibliography and textual studies. This has shifted much opinion about the playwright, how he worked, and with whom he collaborated. Yet there remain many unsolved riddles. / This is a book about unresolved (and unresolvable ) questions about Shakespeare, and about writing, creativity and its study. / Professor Holderness reviews the current debates in textual theory and practice. He concludes that 'Shakespeare' is not a writer but a collection of documents, none of which can with any certainty be linked to whatever it was the author wanted to say. He goes beyond both traditional and 'materialist' bibliography to show that texts are both physical media, made and remade by a series of craftspeople; and rich repositories of changeable meaning. / According to modern literary studies all texts are copies, always already changed, and there are no 'originals'. Editors are translators; and scholars and critics rewrite the writing they study. The book advocates a recovery of ancient concepts such as creativity and imagination, together with a recognition of the technical and essentially collaborative nature of all writing. Shakespeare is then situated within this theoretical context, via a brief history of the plays' textual reproduction. / A series of chapters on individual plays provides illustrative examples of such textual activities in practice. The book concludes that all Shakespeare scholarship, editing and criticism are devoted to a quest for something missing: not the lost manuscript (which even if recovered would not in any case answer all our questions), but rather the absence that writing always invokes. / Contents: New Introduction to revised edition. / Chapter One: Text. / Chapter Two: Matter. / Chapter Three: Originals. / Chapter Four: Texts and Contexts: King Lear. / Chapter Five: Visions and Revisions: Hamlet. / Chapter Six: Notes and Queries: Macbeth. / Chapter Seven: Now you see me, now you don't: Hamlet. / Chapter Eight: Writing and Fighting: Henry V. Conclusion: Writing in the Dust. / Notes and Bibliography. / Index.…