9780393316933 - The Guest From the Future de Stallworthy, Jon (17 résultats)

Etat : New. In.

Paperback. Etat : Brand New. 72 pages. 8.50x5.50x0.25 inches. In Stock.

Etat : As New. Unread book in perfect condition.

Etat : New.

Etat : New.

Etat : As New. Unread book in perfect condition.

Etat : New. SUPER FAST SHIPPING.

Paperback. Etat : new. Paperback. It represents what Seamus Heaney, the Nobel Laureate in literature, called art's power of "redress." Stallworthy's poems evoke women survivors; the poet Anna Akhmatova; the painter Francoise Cilot, Picasso's lover; a survivor of the siege of Stalingrad; and a woman who escaped war torn Poland, carrying in her bedding-roll a coverlet she was embroidering for her fiance and herself. This refugee's story bears a curious inverse relationship with that of the "Lady of Shalott": Tennyson's patrician artist in her tower, forced to choose between the world and its "shadows" in her mirror opts for the world and is destroyed; Stallworthy's peasant artist engages with the world and is sustained by an art that reflects that engagement. An old friend told Jon Stallworthy of her flight from war-torn Poland, carrying in her bedding-roll a coverlet she was embroidering for her fiance and herself. Her story bears a curious inverse relationship with that of the 'Lady of Shalott.' Tennysons's patrician artist in her tower, forced to choose between the world and its 'shadows' in her mirror, opts for the world and is destroyed; the peasant artist engages with the world and is sustained by an art that reflects that engagement. The modern story Stallworthy traces over the ghostly outline of the old points a parable about one function of art, what Seamus Heaney calls its power of 'redress', in this or any time. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Paperback. Etat : new. Paperback. It represents what Seamus Heaney, the Nobel Laureate in literature, called art's power of "redress." Stallworthy's poems evoke women survivors; the poet Anna Akhmatova; the painter Francoise Cilot, Picasso's lover; a survivor of the siege of Stalingrad; and a woman who escaped war torn Poland, carrying in her bedding-roll a coverlet she was embroidering for her fiance and herself. This refugee's story bears a curious inverse relationship with that of the "Lady of Shalott": Tennyson's patrician artist in her tower, forced to choose between the world and its "shadows" in her mirror opts for the world and is destroyed; Stallworthy's peasant artist engages with the world and is sustained by an art that reflects that engagement. An old friend told Jon Stallworthy of her flight from war-torn Poland, carrying in her bedding-roll a coverlet she was embroidering for her fiance and herself. Her story bears a curious inverse relationship with that of the 'Lady of Shalott.' Tennysons's patrician artist in her tower, forced to choose between the world and its 'shadows' in her mirror, opts for the world and is destroyed; the peasant artist engages with the world and is sustained by an art that reflects that engagement. The modern story Stallworthy traces over the ghostly outline of the old points a parable about one function of art, what Seamus Heaney calls its power of 'redress', in this or any time. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback. Etat : Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Etat : New.

Paperback. Etat : new. Paperback. It represents what Seamus Heaney, the Nobel Laureate in literature, called art's power of "redress." Stallworthy's poems evoke women survivors; the poet Anna Akhmatova; the painter Francoise Cilot, Picasso's lover; a survivor of the siege of Stalingrad; and a woman who escaped war torn Poland, carrying in her bedding-roll a coverlet she was embroidering for her fiance and herself. This refugee's story bears a curious inverse relationship with that of the "Lady of Shalott": Tennyson's patrician artist in her tower, forced to choose between the world and its "shadows" in her mirror opts for the world and is destroyed; Stallworthy's peasant artist engages with the world and is sustained by an art that reflects that engagement. An old friend told Jon Stallworthy of her flight from war-torn Poland, carrying in her bedding-roll a coverlet she was embroidering for her fiance and herself. Her story bears a curious inverse relationship with that of the 'Lady of Shalott.' Tennysons's patrician artist in her tower, forced to choose between the world and its 'shadows' in her mirror, opts for the world and is destroyed; the peasant artist engages with the world and is sustained by an art that reflects that engagement. The modern story Stallworthy traces over the ghostly outline of the old points a parable about one function of art, what Seamus Heaney calls its power of 'redress', in this or any time. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

PAP. Etat : New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

PAP. Etat : New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Etat : New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. &Uumlber den AutorJon Stallworthy (M.A. and B.Litt. Oxford) is Senior Research Fellow at Wolfson College of Oxford University, where he is an Emeritus Professor of English Literature. He is also former John Wendell Ande.

Paperback / softback. Etat : New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days 647.

Taschenbuch. Etat : Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - It represents what Seamus Heaney, the Nobel Laureate in literature, called art's power of 'redress.' Stallworthy's poems evoke women survivors; the poet Anna Akhmatova; the painter Francoise Cilot, Picasso's lover; a survivor of the siege of Stalingrad; and a woman who escaped war torn Poland, carrying in her bedding-roll a coverlet she was embroidering for her fiance and herself. This refugee's story bears a curious inverse relationship with that of the 'Lady of Shalott': Tennyson's patrician artist in her tower, forced to choose between the world and its 'shadows' in her mirror opts for the world and is destroyed; Stallworthy's peasant artist engages with the world and is sustained by an art that reflects that engagement.