Joseph Wittreich reveals Samson to be an intensely political work that reflects the heroic ambitions and failings of the Puritan Revolution and the tragic ambiguities of the era. He sees in the work not the purveyance of Medieval and early Renaissance typological associations but an interrogation of them and a consequent movement away from them. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Cordell Hull's persistence and legislative experience were determining factors in the development of the Trade Agreements Act, 1934. This text investigates the political struggles surrounding the passage and implementation of the Act, and its impact on Roosevelt's first administration.
This book explores why Renaissance epic poetry clung to fictions of song and oral performance in an age of growing literacy. Sixteenth- and seventeenth-century poets, Anthony Welch argues, came to view their written art as newly distinct from the oral cultures of their ancestors. Welch shows how the period’s writers imagined lost civilizations built on speech and song—from Homeric Greece and Celtic Britain to the Americas—and struggled to reconcile this oral inheritance with an early modern culture of the book. Welch’s wide-ranging study offers a new perspective on Renaissance Europe’s epic literature and its troubled relationship with antiquity.
Dead Masters examines the dual issues of mentoring and intertextuality as an integrated phenomenon. Through a series of fresh and novel readings of Johnsonian and Boswellian texts, the book further advances our awareness of the formal complexities of Johnson's writings and the psychological substratum from which they issue.
Architecture is defined as the design of structures for various uses, but the passion of the designers and builders makes it much more than that. Milton Architecture shows the unique views of the town's style from its earliest days. Known as Unquety by the Neponset Tribe of Indians, Milton was founded in 1640, and was incorporated in 1662. During the town's first century, the architecture was post-Medieval or First Period construction. Describing the town in 1839 for his Historical Collections of Every Town in Massachusetts, John Warner Barber said, "Milton is adorned with some pleasant country seats, and contains at the two falls [Lower Mills and Mattapan], and at the bridge where the Neponset meets the tide, manufactories of cotton, paper. . ." Today, Milton's architecture is represented by a wide spectrum of styles from the earliest houses in town, the Capen House (c. 1655) and the Tucker House (c. 1670), to the Daniel Vose House (known today as the Suffolk Resolves House) and the Isaiah Rogers-designed Captain Robert Bennet Forbes House. Each of the architectural styles is the reflection of an architect's or a builder's idea of adaptations of period designs. Greek Revival, Gothic Revival, and numerous Victorian styles are just a few that can be viewed in Milton Architecture.
From acclaimed crime novelist Gar Anthony Haywood comes a riveting tale unlike any he's told before . . . Diane Edwards has spent the last eight months praying for a miracle after losing her son Adrian in a freak car accident at Seattle's Lakeridge Park. When she finds Adrian back in his bed one night-alive and well and oblivious to his death-it appears her prayers have been answered. But this isn't the kind of miracle Diane was expecting, because she soon learns Adrian is not the only one who's forgotten that fateful day in Lakeridge Park. The entire world has no memory of it, with the exception of Diane and three other people: Michael Edwards-Diane's estranged husband and Adrian's father. Laura Carrillo-Adrian's teacher, who loved him almost as much as his parents did. Milton Weisman-The agnostic, sixty-eight-year-old widower and alcoholic who lost control of the car that killed Adrian in Lakeridge Park. Over the next six days, these four people must struggle to understand what Adrian's return to the living means, and why God Himself would choose them, and them alone, to play witness to it. In the end, all will learn that God's mercy knows no limits-but its permanence comes at a price.
This is the first comprehensive study of the revival and appropriation of the Roman triumph from the 1580s to the 1650s. English versions of the triumph included ceremonial re-enactments, poetic or pictorial representations, and stage performances. As well as many non-canonical writers, Spenser, Marlowe, Shakespeare, Marvell, and Milton all produced versions. The book includes an original survey of ancient literary models and the work of humanist antiquarians, and shows how all its texts are implicated in contemporary political conflicts and discourses.
At the end of the 16th century, scholars and intellectuals were seen as Faustian magicians, dangerous and sexy. By the 19th century, they were perceived as dusty and dried up, dead from the waist down, as Browning so wickedly put it. In this study, a literary critic explores the various ways we have thought about scholars and scholarship through the ages. classical scholar Isaac Casaubon who lived from 1559 to 1614; Mark Pattison, 19th-century rector at Oxford; and Mr Casaubon in George Eliot's Middlemarch. The three are intricately related, for Pattison was seen by many as the model for Eliot's Mr Casaubon and he was also the author of the best book on Isaac Casaubon. Nuttall offers a penetrating interpretation of Middlemarch and then describes how Pattison recorded his own introverted intellectual life and self-lacerating depression. He presents Isaac Casaubon, on the other hand, as a fulfilled scholar who personifies the ideal of detailed, unspectacular truth-telling, often imperilled in our own culture. Nuttall concludes with a meditation on morality, sexuality and the true virtues of scholarship.
The fruit of intensive collaboration among leading international specialists on the literature, religion and culture of early modern England, this volume examines the relationship between writing and religion in England from 1558, the year of the Elizabethan Settlement, up until the Act of Toleration of 1689. Throughout these studies, religious writing is broadly taken as being 'communicational' in the etymological sense: that is, as a medium which played a significant role in the creation or consolidation of communities. Some texts shaped or reinforced one particular kind of religious identity, whereas others fostered communities which cut across the religious borderlines which prevailed in other areas of social interaction. For a number of the scholars writing here, such communal differences correlate with different ways of drawing on the resources of cultural memory. The denominational spectrum covered ranges from several varieties of Dissent, through via media Anglicanism, to Laudianism and Roman Catholicism, and there are also glances towards heresy and the mid-seventeenth century's new atheism. With respect to the range of different genres examined, the volume spans the gamut from poetry, fictional prose, drama, court masque, sermons, devotional works, theological treatises, confessions of faith, church constitutions, tracts, and letters, to history-writing and translation. Arranged in roughly chronological order, Writing and Religion in England, 1558-1689 presents chapters which explore religious writing within the wider contexts of culture, ideas, attitudes, and law, as well as studies which concentrate more on the texts and readerships of particular writers. Several contributors embrace an inter-arts orientation, relating writing to liturgical ceremony, painting, music and architecture, while others opt for a stronger sociological slant, explicitly emphasizing the role of women writers and of writers from different sub-cultural backgrounds.
An illuminating, learned, well-written, and entertaining survey of the giants of world literature. Busy people, and especially the young, will be grateful for this useful and concise introduction." —Paul Johnson Not simply a grand work of reference, The Great Books is a captivating journey through two-and-a-half millennia of the great Western tradition. The eminent British philosopher Anthony O'Hear is our capable tour guide, taking readers on an exhilarating tour through 2,500 years of books as powerful, thrilling, erotic, politically astute, and awe-inspiring as any modern bestseller. The Great Books is a fascinating narrative that encompasses history, myth, art, music, theater, and more. O'Hear sweeps us along from Homer's Iliad to Goethe's Faust, covering much ground in between. In Homer's poems of epic struggle we discover not only the fascination and pleasure we can derive, but also why these works became the fountainhead of Western literature. From Greek tragedy we feel the power of the ancient myths, while from Plato's Death of Socrates we see what may have killed off the tragic spirit. In Virgil's Aeneid we ponder the close connections to—and puzzling contrasts with—Homer; in Dante's terrifying and sublime Divine Comedy we encounter Virgil once again, this time as mentor and guide through Hell; and in Milton's phantasmagoric Paradise Lost we find the Christian story given epic shape and power. And of course, in Shakespeare we experience the great dramatist's particular and incomparable genius. There is much more beyond—from Ovid and Augustine to Chaucer and Cervantes, Pascal and Racine. The Great Books is a spirited and enlightening guide to the great works of the Western tradition, shot through with a love of literature and the author's deeply held belief in its power to enrich and enliven everyone's world.
The Encyclopedia of Vaudeville provides a unique record of what was once America's preeminent form of popular entertainment from the late 1800s through the early 1930s. It includes entries not only on the entertainers themselves, but also on those who worked behind the scenes, the theatres, genres, and historical terms. Entries on individual vaudevillians include biographical information, samplings of routines and, often, commentary by the performers. Many former vaudevillians were interviewed for the book, including Milton Berle, Block and Sully, Kitty Doner, Fifi D'Orsay, Nick Lucas, Ken Murray, Fayard Nicholas, Olga Petrova, Rose Marie, Arthur Tracy, and Rudy Vallee. Where appropriate, entries also include bibliographies. The volume concludes with a guide to vaudeville resources and a general bibliography. Aside from its reference value, with its more than five hundred entries, The Encyclopedia of Vaudeville discusses the careers of the famous and the forgotten. Many of the vaudevillians here, including Jack Benny, George Burns and Gracie Allen, Jimmy Durante, W. C. Fields, Bert Lahr, and Mae West, are familiar names today, thanks to their continuing careers on screen. At the same time, and given equal coverage, are forgotten acts: legendary female impersonators Bert Savoy and Jay Brennan, the vulgar Eva Tanguay with her billing as “The I Don't Care Girl,” male impersonator Kitty Doner, and a host of “freak” acts.
Low discusses the courtly or aristocratic ideal as the great enemy of the georgic spirit, and shows that georgic powerfully invaded English poetry in the years from 1590 to 1700. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
THE PIRATE REVOLUTIONARY is set in the late eighteenth century. Giles Morris, a naval offices in the service of mad King George of England, falls foul of the privileged nobility, who, in the main, run the Admiralty. Leading a mutiny, he turns to piracy, selling white slaves to cheating Moroccans who are, in turn, cheated of their gold. Liaising with French revolutionaries, he attacks British naval ships and army installations causing anger and humiliation to the Crown. Continuing activities in Ireland, he becomes involved romantically with three sensuous women who practice the occult , and curb his revolutionary ways.
This useful resource provides proven methods for preventing and managing violence in the workplace -- helping companies in the development of a sound violence-prevention plan. Managers and employees will learn how to recognise signs and indicators of potential violence, how to deal with explosive situations, and what steps to take after an eruption has occurred. Case examples illustrate these problems, and new laws and principles are examined.
This remarkable collection of original essays by a distinguished group of American and English scholars explores attitudes toward apocalyptic thought and the Book of Revelation as they were reflected, over many centuries, in theological discourse, political activity, and artistic and literary endeavors.
Drawn from over four decades of regular reviews for the Daily Telegraph, as well as pieces for Apollo, Punch and Encounter, this is a collection of Anthony Powell's critical writings.
After Maggie Polisi, an associate at the law firm of Parker & Gould, breaks off a relationship with a partner, Simon Clark, she is denied partnership. Polisi sues Clark and the firm for gender discrimination, sexual harassment (quid pro quo and hostile work environment), and defamation. This case file is designed to teach advanced trial skills in a complex action involving both liability and damages. There are three witnesses for both the plaintiff and the defendants. This particular file is the expert edition focusing on trial skills and use of expert witnesses.
The question of modernity has provoked a vigorous debate in the work of thinkers from Hegel to Habermas. Anthony J. Cascardi offers an historical account of the origins and transformations of the rational subject of self as it is represented in Descartes, Cervantes, Pascal, Hobbes and the Don Juan myth.
Reveals how the divorce of divine perfection from human perfection undergirds the divorce of theology and philosophy. This work shows how these discourses were originally joined by the Church Fathers, to how they were separated in the Middle Ages and modern Anglicanism, to how they can be rejoined.
In Ironies of Faith, celebrated Dante scholar and translator Anthony Esolen provides a profound meditation upon the use and place of irony in Christian art and in the Christian life. Beginning with an extended analysis of irony as an essentially dramatic device, Esolen explores those manifestations of irony that appear prominently in Christian thinking and art: ironies of time (for Christians believe in divine Providence, but live in a world whose moments pass away); ironies of power (for Christians believe in an almighty God who took on human flesh, and whose "weakness" is stronger than our greatest enemy, death); ironies of love (for man seldom knows whom to love, or how, or even whom it is that in the depths of his heart he loves best); and the figure of the Child (for Christians ever hear the warning voice of their Savior, who says that unless we become like unto one of these little ones, we shall not enter the Kingdom of God). Esolen's finely wrought study draws from Augustine, Dante, Shakespeare, Tolkien, Mauriac, Milton Herbert, Hopkins, and Dostoyevsky, among others, including the anonymous author of the medieval poem Pearl. Such authors, Anthony Esolen believes, teach us that the last laugh is on the world, because that grim old world, taking itself so seriously that even its laughter is a sneer, will finally - despite its proud resistance - be redeemed. That is the ultimate irony of faith. Readers who treasure the Christian literary tradition should not miss this illuminating book.
Yu's essays juxtapose Chinese and Western texts - Cratylus next to Xunzi,for example - and discuss their relationship to language and subjects, such as liberal Greek education against general education in China. He compares a specific Western text and religion to a specific Chinese text and religion. He considers the Divina Commedia in the context of Catholic theology alongside The Journey to the West as it relates to Chinese syncretism, united by the theme of pilgrimage. Yet Yu's focus isn't entirely tied to the classics. He also considers the struggle for human rights in China and how this topic relates to ancient Chinese social thought and modern notions of rights in the West.
Eccentrics of Comedy examines the lives and careers of twelve entertainers whose comedic styles were distinctly eccentric: Milton Berle, Ed Brendel, Bobby Clark, Phyllis Diller, the Duncan Sisters, Edward Everett Horton, Alice Howell, Franklin Pangborn, Old Mother Riley, Margaret Rutherford, Colonel Lemuel Q. Stoopnagle, and Ernest Thesiger. For the majority of these performers, Eccentrics of Comedy provides the first serious, detailed discussion of their work. The figures are from all areas of popular entertainment. Milton Berle is "Mr. Television." The Duncan Sisters and Bobby Clark were headliners in vaudeville and musical comedy. Alice Howell was a silent screen comedienne. Colonel Lemuel Q. Stoopnagle was a familiar figure on radio in the 1930s. Edward Everett Horton, Franklin Pangborn, Old Mother Riley, Margaret Rutherford, and Ernest Thesiger are primarily known for their work on screen. The comedic styles vary widely, but Slide highlights similarities between the entertainers. Slide writes with enthusiasm and affection for his subjects. Both Milton Berle and Phyllis Diller offered him first-hand accounts of their careers, and in many cases he quotes from other film celebrities who worked with the comedians. Slide offers a thorough understanding of the media in which his subjects worked and brings their acts to life.
Bertolini provides close, subtle readings of six of Shaws major plays: Caesar and Cleopatra, Man and Superman, Major Barbara, The Doctors Dilemma, Pygmalion, and Saint Joan. He also devotes a full chapter to the one-act plays.
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