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Tristana: by Benito Pérez Galdós (Hispanic Texts)
by Pablo ValdiviaTristana is a novel where love, hate and power converge into a triangle of domination and frustration.Galdós', following the ideas of the Free Teaching Institution, intervened in the arena of the debate around the emancipation of women and their incorporation into the public sphere. Tristana, a young woman subjected to the rule of the tyrannical Don Lope, idealistically tries to find her purpose on life but she ends trapped by the rules of a world dominated by men who only see her as the object of their desire. Written in an experimental manner that defies the boundaries of theatre, epistolary and novel genres, Galdós' displays the purest nature of his characters by presenting their contradictions, weaknesses and virtues. He uses a deliberately ambiguous style that seeks to address fundamental questions regarding the unbalances of a Madrid in times of turbulence, but leaves the reader to draw their own meaning.
Tristan's Shadow: Sexuality and the Total Work of Art after Wagner
by Adrian DaubDas Rheingold, Die Walküre, and Siegfried. Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept of Gesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference. Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.
Tristan's Shadow: Sexuality and the Total Work of Art after Wagner
by Adrian DaubDas Rheingold, Die Walküre, and Siegfried. Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept of Gesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference. Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.
Tristan's Shadow: Sexuality and the Total Work of Art after Wagner
by Adrian DaubDas Rheingold, Die Walküre, and Siegfried. Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept of Gesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference. Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.
Tristan's Shadow: Sexuality and the Total Work of Art after Wagner
by Adrian DaubDas Rheingold, Die Walküre, and Siegfried. Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept of Gesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference. Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.
The Triumph of Human Empire: Verne, Morris, and Stevenson at the End of the World
by Rosalind WilliamsIn the early 1600s, in a haunting tale titled New Atlantis, Sir Francis Bacon imagined the discovery of an uncharted island. This island was home to the descendants of the lost realm of Atlantis, who had organized themselves to seek “the knowledge of Causes, and secret motions of things; and the enlarging of the bounds of Human Empire, to the effecting of all things possible.” Bacon’s make-believe island was not an empire in the usual sense, marked by territorial control; instead, it was the center of a vast general expansion of human knowledge and power. Rosalind Williams uses Bacon’s island as a jumping-off point to explore the overarching historical event of our time: the rise and triumph of human empire, the apotheosis of the modern ambition to increase knowledge and power in order to achieve world domination. Confronting an intensely humanized world was a singular event of consciousness, which Williams explores through the lives and works of three writers of the late nineteenth century: Jules Verne, William Morris, and Robert Louis Stevenson. As the century drew to a close, these writers were unhappy with the direction in which their world seemed to be headed and worried that organized humanity would use knowledge and power for unworthy ends. In response, Williams shows, each engaged in a lifelong quest to make a home in the midst of human empire, to transcend it, and most of all to understand it. They accomplished this first by taking to the water: in life and in art, the transition from land to water offered them release from the condition of human domination. At the same time, each writer transformed his world by exploring the literary boundary between realism and romance. Williams shows how Verne, Morris, and Stevenson experimented with romance and fantasy and how these traditions allowed them to express their growing awareness of the need for a new relationship between humans and Earth. The Triumph of Human Empire shows that for these writers and their readers romance was an exceptionally powerful way of grappling with the political, technical, and environmental situations of modernity. As environmental consciousness rises in our time, along with evidence that our seeming control over nature is pathological and unpredictable, Williams’s history is one that speaks very much to the present.
The Triumph of Human Empire: Verne, Morris, and Stevenson at the End of the World
by Rosalind WilliamsIn the early 1600s, in a haunting tale titled New Atlantis, Sir Francis Bacon imagined the discovery of an uncharted island. This island was home to the descendants of the lost realm of Atlantis, who had organized themselves to seek “the knowledge of Causes, and secret motions of things; and the enlarging of the bounds of Human Empire, to the effecting of all things possible.” Bacon’s make-believe island was not an empire in the usual sense, marked by territorial control; instead, it was the center of a vast general expansion of human knowledge and power. Rosalind Williams uses Bacon’s island as a jumping-off point to explore the overarching historical event of our time: the rise and triumph of human empire, the apotheosis of the modern ambition to increase knowledge and power in order to achieve world domination. Confronting an intensely humanized world was a singular event of consciousness, which Williams explores through the lives and works of three writers of the late nineteenth century: Jules Verne, William Morris, and Robert Louis Stevenson. As the century drew to a close, these writers were unhappy with the direction in which their world seemed to be headed and worried that organized humanity would use knowledge and power for unworthy ends. In response, Williams shows, each engaged in a lifelong quest to make a home in the midst of human empire, to transcend it, and most of all to understand it. They accomplished this first by taking to the water: in life and in art, the transition from land to water offered them release from the condition of human domination. At the same time, each writer transformed his world by exploring the literary boundary between realism and romance. Williams shows how Verne, Morris, and Stevenson experimented with romance and fantasy and how these traditions allowed them to express their growing awareness of the need for a new relationship between humans and Earth. The Triumph of Human Empire shows that for these writers and their readers romance was an exceptionally powerful way of grappling with the political, technical, and environmental situations of modernity. As environmental consciousness rises in our time, along with evidence that our seeming control over nature is pathological and unpredictable, Williams’s history is one that speaks very much to the present.
The Triumph of Human Empire: Verne, Morris, and Stevenson at the End of the World
by Rosalind WilliamsIn the early 1600s, in a haunting tale titled New Atlantis, Sir Francis Bacon imagined the discovery of an uncharted island. This island was home to the descendants of the lost realm of Atlantis, who had organized themselves to seek “the knowledge of Causes, and secret motions of things; and the enlarging of the bounds of Human Empire, to the effecting of all things possible.” Bacon’s make-believe island was not an empire in the usual sense, marked by territorial control; instead, it was the center of a vast general expansion of human knowledge and power. Rosalind Williams uses Bacon’s island as a jumping-off point to explore the overarching historical event of our time: the rise and triumph of human empire, the apotheosis of the modern ambition to increase knowledge and power in order to achieve world domination. Confronting an intensely humanized world was a singular event of consciousness, which Williams explores through the lives and works of three writers of the late nineteenth century: Jules Verne, William Morris, and Robert Louis Stevenson. As the century drew to a close, these writers were unhappy with the direction in which their world seemed to be headed and worried that organized humanity would use knowledge and power for unworthy ends. In response, Williams shows, each engaged in a lifelong quest to make a home in the midst of human empire, to transcend it, and most of all to understand it. They accomplished this first by taking to the water: in life and in art, the transition from land to water offered them release from the condition of human domination. At the same time, each writer transformed his world by exploring the literary boundary between realism and romance. Williams shows how Verne, Morris, and Stevenson experimented with romance and fantasy and how these traditions allowed them to express their growing awareness of the need for a new relationship between humans and Earth. The Triumph of Human Empire shows that for these writers and their readers romance was an exceptionally powerful way of grappling with the political, technical, and environmental situations of modernity. As environmental consciousness rises in our time, along with evidence that our seeming control over nature is pathological and unpredictable, Williams’s history is one that speaks very much to the present.
The Triumph of Human Empire: Verne, Morris, and Stevenson at the End of the World
by Rosalind WilliamsIn the early 1600s, in a haunting tale titled New Atlantis, Sir Francis Bacon imagined the discovery of an uncharted island. This island was home to the descendants of the lost realm of Atlantis, who had organized themselves to seek “the knowledge of Causes, and secret motions of things; and the enlarging of the bounds of Human Empire, to the effecting of all things possible.” Bacon’s make-believe island was not an empire in the usual sense, marked by territorial control; instead, it was the center of a vast general expansion of human knowledge and power. Rosalind Williams uses Bacon’s island as a jumping-off point to explore the overarching historical event of our time: the rise and triumph of human empire, the apotheosis of the modern ambition to increase knowledge and power in order to achieve world domination. Confronting an intensely humanized world was a singular event of consciousness, which Williams explores through the lives and works of three writers of the late nineteenth century: Jules Verne, William Morris, and Robert Louis Stevenson. As the century drew to a close, these writers were unhappy with the direction in which their world seemed to be headed and worried that organized humanity would use knowledge and power for unworthy ends. In response, Williams shows, each engaged in a lifelong quest to make a home in the midst of human empire, to transcend it, and most of all to understand it. They accomplished this first by taking to the water: in life and in art, the transition from land to water offered them release from the condition of human domination. At the same time, each writer transformed his world by exploring the literary boundary between realism and romance. Williams shows how Verne, Morris, and Stevenson experimented with romance and fantasy and how these traditions allowed them to express their growing awareness of the need for a new relationship between humans and Earth. The Triumph of Human Empire shows that for these writers and their readers romance was an exceptionally powerful way of grappling with the political, technical, and environmental situations of modernity. As environmental consciousness rises in our time, along with evidence that our seeming control over nature is pathological and unpredictable, Williams’s history is one that speaks very much to the present.
The Triumph of Narrative: Storytelling in the Age of Mass Culture (The CBC Massey Lectures)
by Robert FulfordNarrative has been central to human life for millennia, and the twentieth century has been preeminently the age of the story. Mass culture and mass leisure have enabled us to spend far more time absorbing stories, real and imaginary, than any of our ancestors. Whether or not this has been to our benefit is one of the questions raised by journalist and 1999 CBC Massey lecturer Robert Fulford. Narrative, Fulford points out, is how we explain, how we teach, how we entertain ourselves - often all at once. It is the bundle in which we wrap truth, hope, and dread. It is crucial to civilization. Fulford writes engagingly and energetically about narrative history, narrative in news coverage, the rise of electronic narrative, and narrative as it flourishes in the form of gossip, "the folk-art version of literature," revealing to us the mystery, power, and importance of story in all our lives.
The Triumph of the Snake Goddess
by Kaiser HaqThe Triumph of the Snake Goddess, a prose translation by the scholar and poet Kaiser Haq, is the first comprehensive retelling of this epic in modern English. Haq’s Prologue explores the oral, poetic, and manuscript traditions, and Wendy Doniger’s Introduction examines the significance of snake worship in classical Sanskrit texts.
Triumph Revisited: Historians Battle for the Vietnam War
by Andrew WiestMore than thirty years later, the Vietnam War still stands as one of the most controversial events in the history of the United States, and historians have so far failed to come up with a definitive narrative of the wartime experience. With competing viewpoints already in play, Mark Moyar’s recent revisionist approach in Triumph Forsaken has created heated debate over who "owns" the history of America’s war in Vietnam. Triumph Revisited: Historians Battle for the Vietnam War collects critiques of Triumph Forsaken from both sides of this debate, written by an array of Vietnam scholars, cataloguing arguments about how the war should be remembered, how history may be reconstructed, and by whom. A lively introduction and conclusion by editors Andrew Wiest and Michael Doidge provide context and balance to the essays, as well as Moyar’s responses, giving students and scholars of the Vietnam era a glimpse into how history is constructed and reconstructed.
Triumph Revisited: Historians Battle for the Vietnam War
by Andrew Wiest Michael DoidgeMore than thirty years later, the Vietnam War still stands as one of the most controversial events in the history of the United States, and historians have so far failed to come up with a definitive narrative of the wartime experience. With competing viewpoints already in play, Mark Moyar’s recent revisionist approach in Triumph Forsaken has created heated debate over who "owns" the history of America’s war in Vietnam. Triumph Revisited: Historians Battle for the Vietnam War collects critiques of Triumph Forsaken from both sides of this debate, written by an array of Vietnam scholars, cataloguing arguments about how the war should be remembered, how history may be reconstructed, and by whom. A lively introduction and conclusion by editors Andrew Wiest and Michael Doidge provide context and balance to the essays, as well as Moyar’s responses, giving students and scholars of the Vietnam era a glimpse into how history is constructed and reconstructed.
Trivialliteratur (Sammlung Metzler)
by Peter NusserNussers Buch gibt einen Überblick über die Geschichte und Theorie der Trivialliteratur. Der Band bietet eine umfassende, alle Aspekte der Forschung berücksichtigende Orientierung. Er bildet einen sicheren Ausgangspunkt für jede weitere Beschäftigung mit dem Thema.
Trivialliteratur und Popularkultur: Vom Heftromanleser zum Fernsehzuschauer. Eine literatursoziologische Analyse unter Einschluß der Trivialliteratur der DDR
by Walter NutzIn diesem Band stellt der Autor, der seit den frühen 60er Jahren empirisch auf dem Gebiet der trivialen Lesestoffe gearbeitet hat, seine Ergebnisse aus der Trivialliteratur- und Popularkulturforschung zusammenfassend dar. Gegenüber germanistischen, primär literaturwissenschaftlich orientierten Arbeiten zeichnet sich diese Studie dadurch aus, daß Leserprofile, aber auch die Produktionsbedingungen genauer beschrieben werden, als dies bisher der Fall war. - Ein gutes Lehrbuch, das sowohl für Literatur- wie auch für Sozial- und Kommunikationswissenschaftler ein Muß ist.
Trixie Tempest’s Diary: Band 16/sapphire (Collins Big Cat)
by Ros AsquithTrixie's hilarious diary, written by acclaimed children's writer, Ros Asquith, tells of her plans to be a world famous trumpet player, horse rider and first child president of the world. She is also determined to teach animals to read! But when her beloved puppy is sick, everything changes.
Troilus and Cressida: A Critical Reader (Arden Early Modern Drama Guides)
by Efterpi Mitsi Andrew Hiscock Lisa HopkinsTroilus and Cressida: A Critical Reader offers an accessible and thought-provoking guide to this complex problem play, surveying its key themes and evolving critical preoccupations. Considering its generic ambiguity and experimentalism, it also provides a uniquely detailed and up-to-date history of the play's stage performance from Dryden's rewriting up to Mark Ravenhill and Elizabeth LeCompte's controversial 2012 production for the Royal Shakespeare Company and the Wooster Group. Moving through to four new critical essays, the guide opens up fresh perspectives on the play's iconoclastic nature and its key themes, ranging from issues of gender and sexuality to Elizabethan politics, from the uses of antiquity to questions of cultural translation, with particular attention paid on Troilus' “Greekness”. The volume finishes with a helpful guide to critical and web-based resources. Discussing the ways in which this challenging and acerbic play can be brought to life in the classroom, it suggests performance-based strategies, designed to engage with the dramaturgical and theatrical dimensions of the text; close-reading exercises with an emphasis on rhetoric, metaphor and the practice of “troping”; and a series of tools designed to situate the play in a range of contexts, including its classical and critical frameworks.
Troilus and Cressida: A Critical Reader (Arden Early Modern Drama Guides)
by Efterpi Mitsi Andrew Hiscock Lisa HopkinsTroilus and Cressida: A Critical Reader offers an accessible and thought-provoking guide to this complex problem play, surveying its key themes and evolving critical preoccupations. Considering its generic ambiguity and experimentalism, it also provides a uniquely detailed and up-to-date history of the play's stage performance from Dryden's rewriting up to Mark Ravenhill and Elizabeth LeCompte's controversial 2012 production for the Royal Shakespeare Company and the Wooster Group. Moving through to four new critical essays, the guide opens up fresh perspectives on the play's iconoclastic nature and its key themes, ranging from issues of gender and sexuality to Elizabethan politics, from the uses of antiquity to questions of cultural translation, with particular attention paid on Troilus' “Greekness”. The volume finishes with a helpful guide to critical and web-based resources. Discussing the ways in which this challenging and acerbic play can be brought to life in the classroom, it suggests performance-based strategies, designed to engage with the dramaturgical and theatrical dimensions of the text; close-reading exercises with an emphasis on rhetoric, metaphor and the practice of “troping”; and a series of tools designed to situate the play in a range of contexts, including its classical and critical frameworks.
Troilus and Cressida: Third Series, Revised Edition (The Arden Shakespeare Third Series)
by William ShakespeareA revised edition of this intriguing and complex play, updated to cover recent critical thinking and stage history. Troilus and Cressida is a tragedy often labelled a "problem" play because of its apparent blend of genres and its difficult themes. Set in the Trojan Wars it tells a story of doomed love and honour, offering a debased view of human nature in war-time and a stage peopled by generally unsympathetic characters. The revised edition makes an ideal text for study at undergraduate level and above.
Troilus and Cressida: Third Series, Revised Edition (The Arden Shakespeare Third Series)
by William Shakespeare David BevingtonA revised edition of this intriguing and complex play, updated to cover recent critical thinking and stage history. Troilus and Cressida is a tragedy often labelled a "problem" play because of its apparent blend of genres and its difficult themes. Set in the Trojan Wars it tells a story of doomed love and honour, offering a debased view of human nature in war-time and a stage peopled by generally unsympathetic characters. The revised edition makes an ideal text for study at undergraduate level and above.
Troilus and Criseyde: "The Book of Troilus" by Geoffrey Chaucer
by Geoffrey Chaucer B.A. WindeattThis edition presents all of the surviving manuscripts, together with textual apparatus and commentary. The poem is also presented in parallel with its principal source, Boccaccio's "Filostrato", enabling the reader to compare the two poems in charting the evolution and achievement of Chaucer's "Troilus". This edition has been revised and corrected in order to make the text fully accessible to the reader unfamiliar with Chaucer's work. An introduction discusses the text, metre and sources of "Troilus" and assesses the literary importance of Chaucer's translation method.
Troilus and Criseyde: "The Book of Troilus" by Geoffrey Chaucer
by Geoffrey Chaucer B.A. WindeattThis edition presents all of the surviving manuscripts, together with textual apparatus and commentary. The poem is also presented in parallel with its principal source, Boccaccio's "Filostrato", enabling the reader to compare the two poems in charting the evolution and achievement of Chaucer's "Troilus". This edition has been revised and corrected in order to make the text fully accessible to the reader unfamiliar with Chaucer's work. An introduction discusses the text, metre and sources of "Troilus" and assesses the literary importance of Chaucer's translation method.
The Trojan Epic: <I>Posthomerica</I> (Johns Hopkins New Translations from Antiquity)
by Alan Quintus of SmyrnaComposed in the third century A.D., the Trojan Epic is the earliest surviving literary evidence for many of the traditions of the Trojan War passed down from ancient Greece. Also known as the Posthomerica, or "sequel to Homer," the Trojan Epic chronicles the course of the war after the burial of Troy's greatest hero, Hektor.Quintus, believed to have been an educated Greek living in Roman Asia Minor, included some of the war's most legendary events: the death of Achilles, the Trojan Horse, and the destruction of Troy. But because Quintus deliberately imitated Homer's language and style, his work has been dismissed by many scholars as pastiche. A vivid and entertaining story in its own right, the Trojan Epic is also particularly significant for what it reveals about its sources—the much older, now lost Greek epics about the Trojan War known collectively as the Epic Cycle. Written in the Homeric era, these poems recounted events not included in the Iliad or the Odyssey. As Alan James makes clear in this vibrant and faithful new translation, Quintus's work deserves attention for its literary-historical importance and its narrative power. James's line-by-line verse translation in English reveals the original as an exciting and eloquent tale of gods and heroes, bravery and cunning, hubris and brutality. James includes a substantial introduction which places the work in its literary and historical context, a detailed and annotated book-by-book summary of the epic, a commentary dealing mainly with sources, and an explanatory index of proper names. Brilliantly revitalized by James, the Trojan Epic will appeal to a wide range of readers interested in Greek mythology and the legend of Troy.