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This book examines modernism as a cultural and literary phenomenon. It distinguishes between two groups of modernists, one consisting mostly of exiles and characterised by internationalism and intellectual complexity, the other comprising primarily artists who consciously resist the aesthetic and political tendencies of the first group. The focus here is on the first group, and more particularly, on T.S. Eliot. Included are chapters on Mallarme and Hulme and extended discussions of Yeats and Joyce. In the social sciences, special attention is given to Frazer, Freud, and F.H. Bradley. Viewing modernism as an ideological term, the text evaluates contending theories, including those of Jeffrey Perl and of Sandra Gilbert and Susan Gubar.
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After dwelling at some length on the history of Pendleton County from its origins as part of Augusta County, Virginia, this work brings its full weight to bear on hundreds of family histories, with references to more than 15,000 individuals, each meticulously developed from the public records at Richmond and at the county seats of Augusta and Rockingham. As a rule, Morton traces the entire adult posterity of each Pendleton County pioneer and sub-pioneer ancestor in a perfectly fluid progression, and furnishes much in the way of personal accounts and family traditions.
"From meetings and conversation with men, love affairs arise. In the midst of pleasures, banquets, dances, laughter, and self-indulgence, Venus and her son Cupid reign supreme. . . . Poor young girl, if you emerge from these encounters a captive prey! How much better it would have been to remain at home or to have broken a leg of the body rather than of the mind!" So wrote the sixteenth-century Spanish humanist Juan Luis Vives in a famous work dedicated to Henry VIII's daughter, Princess Mary, but intended for a wider audience interested in the education of women. Praised by Erasmus and Thomas More, Vives advocated education for all women, regardless of social class and ability. From childho...
Tirades against legal theatrics are nearly as old as law itself, and yet so is the age-old claim that law must not merely be done: it must be "seen to be done." Law as Performance traces the history of legal performance and spectatorship through the early modern period. Viewing law as the product not merely of edicts or doctrines but of expressive action, it investigates the performances that literally created law: in civic arenas, courtrooms, judges' chambers, marketplaces, scaffolds, and streets. It examines the legal codes, learned treatises, trial reports, lawyers' manuals, execution narratives, rhetoric books, images (and more) that confronted these performances, praising their virtues ...
"Illuminated by the same joyful curiosity and erudition, lyric writing, and plain love of life that made a classic of Archie Carr's The Windward Road."--Peter Matthiessen "Archie Carr shows that he can write about people and forests engagingly and accurately without recourse to fake adventures or gringo condescension."--New York Times Archie Carr's story is his love for the rural high tropics of Central America, revealed with grace and humor in the personal account of the years (1945-49) that he spent in Honduras with his family as a teacher at the Agricultural School run by the United Fruit Company. High Jungles and Low has four parts, each written in a distinctive style. "The Land" is descriptive and includes a candid chapter on Yankee relations with Latin America. "People in the Land" is anecdotal, with sketches of the hill people of Honduras. "The Sweet Sea," a short history of Nicaragua, reveals the biological drama of four centuries of turmoil in that country. "Hall of the Mountain Cow" is Carr's one-month diary of a 100-mile walk along the Mosquito Shore, the rain forest of the Caribbean coast.
First published in February 1936, just under a year from when the idea for it was first discussed, this is one of the most important and influential anthologies of the twentieth century. Since then three further editions by, in succession, Anne Ridler, Donald Hall and Peter Porter have been published. All took as their kernel the original selection by Michael Roberts. This "Faber Finds" reissue restores that pristine selection. More likely than not, the original idea was T. S. Eliot's, the choice of editor was undoubtedly his, and it was an inspired one. Michael Roberts was a poet himself, and a good one, but more important for this task was his acute awareness of the poetry scene, and his s...