In It's Getting Later All the Time, an epistolary novel with a twist, Antonio Tabucchi—"internationally acclaimed as the most original voice in the new generation of Italian writers" (The Harvard Book Review)—revitalizes an illustrious tradition, only to break all its rules. From Italy, an epistolary novel like no other, full of Tabucchi's special "enchantment, which trans-figures even as it captivates" (TLS). In It's Getting Later All the Time, an epistolary novel with a twist, Antonio Tabucchi"internationally acclaimed as the most original voice in the new generation of Italian writers" (The Harvard Book Review)revitalizes an illustrious tradition, only to break all its rules. Seventeen men write seventeen strangely beautiful letterstender or rancorouslonely monologues which move in circles, each describing an affair, and each desperate for a reply which may never come. The letters plunge the reader into an electric, timeless no-man's-land of "this past that is always somewhere, hanging in shreds." And at last, collecting all their one-sided, remorseful adventures into a single polyphonic novel, an 18th letter startlingly answers the men's pleas: a woman's voice, distant, implacable, yet full of sympathy. It's Getting Later All the Time captures destinies which, though so varied in appearance, are at rock bottom all the same: broken. This is an anti-Proustian noveltime lost is lost forever: it is impossible to get back to the past no matter how it haunts the present. As Tabucchi remarked, "Broken time is a dimension you find lots of men living in...an ambiguous, impossible situation, because they are faced with a kind of remorse, a choice they never made.
This important, theoretically sophisticated work explores the concepts of li beral democracy, citizenship and rights. Grounded in critical original research, the book examines Australia's political and legal institutions, and traces the history and future of citizenship and the state in Australia. The central theme is that making proof of belonging to the national culture a precondition of citizenship is inappropriate for a multicultural society such as Australia. This becomes an object lesson for the multicultural regional polities forming throughout the world.
The English language is spreading across the world, and so too is hip-hop culture: both are being altered, developed, reinterpreted, reclaimed. This timely book explores the relationship between global Englishes (the spread and use of diverse forms of English within processes of globalization) and transcultural flows (the movements, changes and reuses of cultural forms in disparate contexts). This wide-ranging study focuses on the ways English is embedded in other linguistic contexts, including those of East Asia, Australia, West Africa and the Pacific Islands. Drawing on transgressive and performative theory, Pennycook looks at how global Englishes, transcultural flows and pedagogy are interconnected in ways that oblige us to rethink language and culture within the contemporary world. Global Englishes and Transcultural Flows is a valuable resource to applied linguists, sociolinguists, and students on cultural studies, English language studies, TEFL and TESOL courses.
Names hidden by acrostic or anagram, pseudonyms, pen-names, nicknames, nameless characters, and lists of names are all explored in this erudite and fascinating book, which encompasses literature from ancient times to modern.
First published in 2001, this work provides detailed information taken from the ’Programmes-as-Broadcast’ daily log of output held at the BBC Written Archives Centre in Caversham. Arranged in chronological order, entries are given for broadcasts of first performances of musical works in the United Kingdom, and include details of: the date of the broadcast, the composer, the title of the work, performers and conductor. In addition to its usefulness as a reference tool, the Chronicle enables us to gauge the trends in twentieth-century British musical life, and the role of the BBC in their promotion.
Although deconstruction has become a popular catchword, as an intellectual movement it has never entirely caught on within the university. For some in the academy, deconstruction, and Jacques Derrida in particular, are responsible for the demise of accountability in the study of literature. Countering these facile dismissals of Derrida and deconstruction, Herman Rapaport explores the incoherence that has plagued critical theory since the 1960s and the resulting legitimacy crisis in the humanities. Against the backdrop of a rich, informed discussion of Derrida's writings -- and how they have been misconstrued by critics and admirers alike -- The Theory Mess investigates the vicissitudes of Anglo-American criticism over the past thirty years and proposes some possibilities for reform.
It is easy to feel helpless in the face of the torrent of information about environmental catastrophes taking place all over the world. In this powerful and provocative book, Scottish writer and campaigner Alastair McIntosh shows how it is still possible for individuals and communities to take on the might of corporate power and emerge victorious. As a founder of the Isle of Eigg Trust, McIntosh helped the beleaguered residents of Eigg to become the first Scottish community ever to clear their laird from his own estate. And plans to turn a majestic Hebridean mountain into a superquarry were overturned after McIntosh persuaded a Native American warrior chief to visit the Isle of Harris and testify at the government inquiry. This extraordinary book weaves together theology, mythology, economics, ecology, history, poetics and politics as the author journeys towards a radical new philosophy of community, spirit and place. His daring and imaginative responses to the destruction of the natural world make Soil and Soul an uplifting, inspirational and often richly humorous read.
In It's Getting Later All the Time, an epistolary novel with a twist, Antonio Tabucchi—"internationally acclaimed as the most original voice in the new generation of Italian writers" (The Harvard Book Review)—revitalizes an illustrious tradition, only to break all its rules. From Italy, an epistolary novel like no other, full of Tabucchi's special "enchantment, which trans-figures even as it captivates" (TLS). In It's Getting Later All the Time, an epistolary novel with a twist, Antonio Tabucchi"internationally acclaimed as the most original voice in the new generation of Italian writers" (The Harvard Book Review)revitalizes an illustrious tradition, only to break all its rules. Seventeen men write seventeen strangely beautiful letterstender or rancorouslonely monologues which move in circles, each describing an affair, and each desperate for a reply which may never come. The letters plunge the reader into an electric, timeless no-man's-land of "this past that is always somewhere, hanging in shreds." And at last, collecting all their one-sided, remorseful adventures into a single polyphonic novel, an 18th letter startlingly answers the men's pleas: a woman's voice, distant, implacable, yet full of sympathy. It's Getting Later All the Time captures destinies which, though so varied in appearance, are at rock bottom all the same: broken. This is an anti-Proustian noveltime lost is lost forever: it is impossible to get back to the past no matter how it haunts the present. As Tabucchi remarked, "Broken time is a dimension you find lots of men living in...an ambiguous, impossible situation, because they are faced with a kind of remorse, a choice they never made.
In this first tale, in a collection of predominantly Welsh stories, a harper has a strange encounter on a lonely road that deeply affects his love life and leads to an interestesting arrangement. In the second story a woman loses her baby to an eagle but manages to negotiate his return. The third story explores events in the long life of an ancient oak tree. In the final story a Scottish harper recounts his exploits and role in the life of the clan.
The wind was from the sea and the smoke drifted over the links to the land beyond. He had noted the wind. The air never seemed still here. He had learned his bride’s name from Morfor. She was called Mairwen, the fair one. He would soon see. He hoped for some signs of the fairness, for so far she had been so cloaked and covered in feathers that he could not say, except that her eyes were of amber and the lips nicely shaped. Thick dark hair had strewn out below the feathers indicating vigour
Once, long before Buddha, long before Allah, long before the Christ, the peoples on either side of the Pentland Firth worshipped Mara, the Green Goddess of the sea. Mara gave them food, seals, birds, shellfish. She also gave them life; the tides of women’s courses that brought on the passion, and then the pain of birth. When angry she raged and swept away the sand and flooded inland: but none had ever seen her in the flesh except for the shamaness. In her conical stone hut she lived by a bay daily filled by the tide
The saga of Bennibister continues. There are tensions in the marriage of Isobel and Charles as the the land loses its total grip on him and the sea beckons. Near death brings love and new blood. Enter the third Norn, teller of tales, giver of wise council, guider of the fates. There are three novellas in the Bennibister series; Bennibister (the Place of the Horse), The Wedding at Bennibister, and the last in the series, The Third Norn (at Bennibister).
A classical scholar and master of several modern languages, Ramsay was unquestionably the most erudite artist of the age. His friends included such celebrated men of letters as David Hume, Adam Smith, Horace Walpole, Samuel Johnson and James Boswell; he also came to know the French philosophes Voltaire, Diderot, d'Holbach and Rousseau (whose portrait he painted).
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