This is a sensitive study of Wells’ imaginative development during his formative years. It comes at a time when interest in H.G. Wells’ early writing is beginning to revive, owing, no doubt, to the current translation into reality of some aspects of science fiction. Mr. Bergonzi examines Wells’ early fiction, from surviving student writings of the late eighties to 1901 when he published The First Men in the Moon, his last significant scientific romance, and Anticipations, his first systematic non-fictional treatise. The main emphasis of his study falls on the scientific romances of the nineties, which are examined in detail. In addition to literary analysis, relevant source material and reviews, which show how contemporaries received Wells’ work, are noted. Wells’ early attitude to science is shown to have been deeply ambivalent, as is apparent in his successive uses of the Frankenstein archetype. His intellectual attitudes tended towards scepticism and pessimism rather than to the ‘utopian’ optimism associated with his later career. These romances reflect in imaginative and non-discursive form some of the major preoccupations of late-Victorian England: the impact of Darwinism, of Socialism, and an increasing lack of national self-confidence. Mr. Bergonzi sees Wells as essentially a fin de siècle myth-maker, and he argues that it is this aspect of Wells’ work which most requires attention if he is to be remembered in the future. Two early pieces by Wells, now unobtainable elsewhere, are given in an Appendix. One, The Chronic Argonauts, a fragment of a fantastic novel written at the age of 21, is the earliest draft of The Time Machine.
In the opening section of these related studies of modern literature, Bernard Bergonzi considers the poetry and fiction of two World Wars, including discussions of Wilfred Owen, Richard Aldington’s Death of a Hero, Pat Barker’s Regeneration, and the poetry of the Desert War of the 1940s. The second section deals with a number of prominent twentieth-century authors. Among other subjects, it looks at Ford Madox Ford’s The Good Soldier as a novel anticipating the Great War, the treatment of memory in Orwell’s Nineteen Eighty-Four, and aspects of the poetry of T.S. Eliot, responding to arguments about its anti-semitism. The final section is on Catholic writers, from Hopkins and Chesterton to Graham Greene and David Lodge. The book continues Bergonzi’s extensive career as a critic and literary historian of the modern period, and takes a fresh look at the subjects of some of the earlier books, such as Hopkins, Eliot, Wells, and the literature of war.
David Lodge is internationally celebrated as a novelist and critic, and, more recently, as a writer for television. This study examines his work from The Picturegoers (1960) to Therapy (1995). There are chapters on Lodge's early, mainly realistic, fiction; on his trilogy of campus novels, Changing Places, Small World and Nice Work; and on his interest, sometimes light-hearted, sometimes deeply serious, in Catholicism, notably in How Far Can You Go? and Paradise News. Lodge's practice as a novelist has been paralleled over the years by his work as a literary critic and theorist who is keenly interested in fictional form. There is an account of his critical writing, and the study concludes with an assessment of Lodge's achievement as a best-selling novelist with intellectual interests in criticismand theology, who has successfully brought together observant realism, metafictional consciousness and dazzling comedy.
Bernard Bergonzi has been reading Graham Greene for many years; he still possesses the original edition of The End of the Affair that he bought when it was published in 1951. After so much recent attention to Greene's life he believes it is time to return to his writings; in this critical study Bergonzi makes a close examination of the language and structure of Greene's novels, and traces the obsessive motifs that recur throughout his long career. Most earlier criticism was written while Greene was still alive and working, and was to some extent provisional, as the final shape of his work was not yet apparent. In this book Bergonzi is able to take a view of Greene's whole career as a novelist, which extended from 1929 to 1988. He believes that Greene's earlier work was his best, combining melodrama, realism, and poetry, with Brighton Rock, published in 1938, a moral fable that draws on crime fiction and Jacobean tragedy, as the masterpiece. The novels that Greene published after the 1950s were very professional examples of skilful story-telling but represented a decline from this high level of achievement. Bergonzi challenges assumptions about the nature of Greene's debt to cinema, and attempts to clarify the complexities and contradictions of his religious ideas. Although this book engages with questions that arise in academic discussions of Greene, it is written with general readers in mind.
This is a sensitive study of Wells’ imaginative development during his formative years. It comes at a time when interest in H.G. Wells’ early writing is beginning to revive, owing, no doubt, to the current translation into reality of some aspects of science fiction. Mr. Bergonzi examines Wells’ early fiction, from surviving student writings of the late eighties to 1901 when he published The First Men in the Moon, his last significant scientific romance, and Anticipations, his first systematic non-fictional treatise. The main emphasis of his study falls on the scientific romances of the nineties, which are examined in detail. In addition to literary analysis, relevant source material and reviews, which show how contemporaries received Wells’ work, are noted. Wells’ early attitude to science is shown to have been deeply ambivalent, as is apparent in his successive uses of the Frankenstein archetype. His intellectual attitudes tended towards scepticism and pessimism rather than to the ‘utopian’ optimism associated with his later career. These romances reflect in imaginative and non-discursive form some of the major preoccupations of late-Victorian England: the impact of Darwinism, of Socialism, and an increasing lack of national self-confidence. Mr. Bergonzi sees Wells as essentially a fin de siècle myth-maker, and he argues that it is this aspect of Wells’ work which most requires attention if he is to be remembered in the future. Two early pieces by Wells, now unobtainable elsewhere, are given in an Appendix. One, The Chronic Argonauts, a fragment of a fantastic novel written at the age of 21, is the earliest draft of The Time Machine.
A biography of Matthew Arnold's Catholic younger brother Tom, a scholar, teacher, and self-styled 'wanderer'. Arnold's path in life took him, after a brilliant start at Oxford, to colonial New Zealand, to Tasmania, to Dublin, back to Oxford, and once more to Dublin, where he died in 1900. Hisspiritual wanderings led him into the Catholic Church, then out of it for some years, and finally back to it. He was close both to Matthew and to John Henry Newman, and his relations with them show unfamiliar aspects of these eminent Victorians. As a young man, Tom Arnold knew the elderlyWordsworth, and Arthur Hugh Clough was his closest friend. He was acquainted with such celebrated Oxford personalities as Benjamin Jowett, Mark Pattison, and Lewis Carroll; as a Professor of English in Dublin he was a colleague of Gerard Manley Hopkins; and in the last year of his life he read andapproved of an undergraduate essay by James Joyce.The book makes an original contribution to Victorian studies at the same time as telling an absorbing human story. An appendix contains a previously unpublished letter from Matthew Arnold to his brother.
In the opening section of these related studies of modern literature, Bernard Bergonzi considers the poetry and fiction of two World Wars, including discussions of Wilfred Owen, Richard Aldington’s Death of a Hero, Pat Barker’s Regeneration, and the poetry of the Desert War of the 1940s. The second section deals with a number of prominent twentieth-century authors. Among other subjects, it looks at Ford Madox Ford’s The Good Soldier as a novel anticipating the Great War, the treatment of memory in Orwell’s Nineteen Eighty-Four, and aspects of the poetry of T.S. Eliot, responding to arguments about its anti-semitism. The final section is on Catholic writers, from Hopkins and Chesterton to Graham Greene and David Lodge. The book continues Bergonzi’s extensive career as a critic and literary historian of the modern period, and takes a fresh look at the subjects of some of the earlier books, such as Hopkins, Eliot, Wells, and the literature of war.
This book shows that T.S. Eliot, working in the romantic tradition, deliberately uses ambiguity in language to manifest the realm of ultimate reality. He maintains this technique first to create moments of unmediated experience in his early poetry and, in his later poetry, to express the transcendent in time. No other study has explicitly dealt with Eliot's use of ambiguity and its significance in relating Eliot to romanticism and postmodern practices of deconstruction. In this study, Eliot is shown to be a significant link, overlooked until now, between tradition and the contemporary fracturing of tradition.
Bernard Bergonzi has been reading Graham Greene for many years; he still possesses the original edition of The End of the Affair that he bought when it was published in 1951. After so much recent attention to Greene's life he believes it is time to return to his writings; in this critical study Bergonzi makes a close examination of the language and structure of Greene's novels, and traces the obsessive motifs that recur throughout his long career. Most earlier criticism waswritten while Greene was still alive and working, and was to some extent provisional, as the final shape of his work was not yet apparent. In this book Bergonzi is able to take a view of Greene's whole career as a novelist, which extended from 1929 to 1988. He believes that Greene's earlier work was hisbest, combining melodrama, realism, and poetry, with Brighton Rock, published in 1938, a moral fable that draws on crime fiction and Jacobean tragedy, as the masterpiece. The novels that Greene published after the 1950s were very professional examples of skilful story-telling but represented a decline from this high level of achievement. Bergonzi challenges assumptions about the nature of Greene's debt to cinema, and attempts to clarify the complexities and contradictions of hisreligious ideas. Although this book engages with questions that arise in academic discussions of Greene, it is written with general readers in mind.
Will surely rank as one of the foremost literary biographies of our time.' John Carey, Sunday Times In his lifetime Gerard Manley Hopkins (1844-1889) published just a single poem - only a few close friends were aware he wrote. Much of his work was burnt by fellow Jesuits on his death. And yet Hopkins is today a huge figure in English literature. Homosexual but terribly repressed, he channeled his emotions toward nature and God, with profound results. Princeton emeritus professor Martin, the only biographer to have unrestricted use of Hopkins' private papers, tells this extraordinary story from Hopkins' early life and studies at Oxford, through his tortuous conversion from Anglicanism to Catholicism, to his struggle in later years to retain his very sanity. 'In Martin, the unhappy and tormented genius has found the most sympathetic and intelligent interpreter... [The book] goes to the heart of Hopkins, and plants him firmly before us as a Victorian, and a great one.' Allan Massie, Sunday Telegraph 'Martin follows Hopkins through his toils with sympathy and a great unshowy command of the facts. In this magnificently solicitous biography he has re-established the contours of the story definitively and made the homosexual drama integral to the better-known drama of conversion and poetics.' Seamus Heaney, Independent on Sunday 'The triumph of this learned, scrupulously detailed and persuasive biography is that it brings the reader as near as it is perhaps possible to come to living Hopkins' life, to sensing the mysterious crushing pressures that were for him intimately bound up with the richness and complexity of his writing.' Hilary Spurling, Daily Telegraph
Therefore, argues Schweizer, traveling during the 1930s was more than just a means to engage the burning political questions of the day: traveling, and in turn travel writing, registered the travelers' growing sense of futility and powerlessness in an especially turbulent world.
Written in an accessible, straightforward style, Administrative Law: A Casebook, Tenth Edition focuses on the basic principles of administrative law using a traditional cases-and-notes pedagogy, flexible organization, and examination-length problems at the end of each substantive chapter. This book emphasizes the actual practice of administrative law, highlighting aspects of the law that will help students later as attorneys practicing before federal or state administrative agencies. Notes after cases focus on questions that would be asked by lawyers practicing in the area. End of chapter problems help to accentuate the types of problems confronted by practitioners. New to the Tenth Edition: Full coverage of recent developments, including new appointment and removal cases: Lucia, Seila Law, and Arthrex, plus accompanying notes; the newest developments regarding the doctrine of nondelegation including the Gundy case and Justice Gorsuch’s dissenting opinion; new treatment of the doctrine of exhaustion of administrative remedies; the newest developments dealing with standard of review including the DACA and Department of Commerce v. New York cases; the newest developments regarding Chevron and Auer deference, including the Pereira and Kisor Updated coverage of developments involving rulemaking. A new procedural due process case involving the emergency exception in the context of the COVID-19 pandemic. Cases and materials relating to state administrative law with an emphasis on California & New York. An edited and shortened chapter on administrative hearings. Professors and students will benefit from: A chronological approach that shows the procedural course of administrative law in actual practice A broad range of state cases, both classic and current Balanced coverage that gives students valuable exposure to the state level where most administrative law issues are handled in practice, in addition to the standard treatment of federal law Flexible organization beginning with an overview of administrative law and its agencies to allow instructors to easily adapt the book to individual course needs Clear, accessible writing style that facilitates student learning Excellent notes and explanatory material A casebook that pays careful attention to explanation, helping students with even complex areas of administrative law An examination-length problem at the end of each substantive chapter Teaching materials include: Comprehensive Teacher’s Manual with model answers and extensive materials related to teaching administrative law as a simulation course
Molecular Fluorescence This second edition of the well-established bestseller is completely updated and revised with approximately 30 % additional material, including two new chapters on applications, which has seen the most significant developments. The comprehensive overview written at an introductory level covers fundamental aspects, principles of instrumentation and practical applications, while providing many valuable tips. For photochemists and photophysicists, physical chemists, molecular physicists, biophysicists, biochemists and biologists, lecturers and students of chemistry, physics, and biology.
What if the people closest to us are not what they seem? What happens when someone takes control of your life and your relationships? And what is hiding in the darkness? In Bernard Minier's Don't Turn Out the Lights, you won’t see who’s coming after you. “You did nothing.” Christine Steinmeyer thought the anonymous suicide note she found in her mailbox on Christmas Eve wasn’t meant for her. But the man calling in to her radio show seems convinced otherwise. “You let her die. . . .” That’s only the beginning. Bit by bit, her life is turned upside down. But who among her friends and family hates her enough to want to destroy her? And why? It’s as if someone has taken over her life, and everything holding it together starts to crumble. Soon all that is left is an unimaginable nightmare. Martin Servaz is on leave in a clinic for depressed cops, haunted by his childhood sweetheart Marianne’s kidnapping by his nemesis, the psychopath Julian Hirtmann. One day, he receives a key card to a hotel room in the mail—the room where an artist committed suicide a year earlier. Someone wants him to get back to work, which he’s more than ready to do, despite his mandatory sick leave. Servaz soon uncovers evidence of a truly terrifying crime. Could someone really be cruelly, consciously hounding women to death?
The cellist in exile is, of course, Pablo Casals, one of the noble figures of the century, who is aptly described here by Bernard Taper as that rarity—an artist with a sense of commitment to humanity.” The book is informal, deeply personal, and permeated with Mr. Taper’s own wonder and affection for his subject. Sensitive, perceptive, and lucid, Cellist in Exile captures the flavor of a unique personality. The book reveals Casals as he is today—still playing the cello inimitably at the age of eighty-five, still stubbornly asserting the moral tenets which have shaped his life—and shows him in the setting of Puerto Rico, which has been his home for the past few years and is his present place of exile. At the same time the book, without being a formal biography, succeeds in re-creating for the reader a vivid sense of Casals’ long, intense, rich, and purposeful life. In preparing this work, Mr. Taper enjoyed a number of conversations with Casals at his home, talks about a whole gamut of subjects—music, freedom, nature, peace, and the Catalonian homeland that Casals still yearns for after more than two decades in exile. As expanded from the widely acclaimed Profile in The New Yorker, Mr. Taper’s book shows Casals in many moods and many different activities—rehearsing, playing the cello, early morning walks along the beach, and at home with his attractive young wife. He is seen in playful imitation of a novice performer’s nervousness when attempting a quavering line Schubert, a scene then heightened by Casals’ confession of the acute nervousness he has suffered before every one of the performances in his own triumphant career. Mr. Taper conveys the cellist’s warmth and simplicity when working with other famed musicians and the kind of communion in music shared with the members of his Casals’ Festival Orchestra. Beautifully illustrated throughout with numerous photographs, some of which had never before been published.
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