A standard work on royal genealogy, this collection contains nearly 200 pedigrees showing the lineal descent of hundreds of American families from the kings of England, Scotland, Ireland, Wales, and France. The data derives from authoritative reference works, from family histories, and from manuscript pedigrees held in both public and private repositories. The indexes contain references to upwards of 3,000 surnames, many with multiple entries. One need only trace a surname through a lineage to connect with the Blood Royal. (Earlier editions of this work are not necessarily superseded by the seventh edition, but the seventh is held to be the most authoritative, and is therefore the most popular.)
Epic Negation examines the dialectical turn of modernist poetry over the interwar period, arguing that late modernism inverts the method of Ezra Pound's "poem including history" to conceive a negated mode of epic, predicated on the encryption of disarticulated historical content. Compelled to register the force of a totality it cannot represent, this negated epic reorients the function of poetic language and reference, remaking the poem, and late modernism generally, as a critical instrument of dialectical reason. Part I reads The Waste Land alongside the review it prefaced, The Criterion, arguing that the poem establishes the editorial method with which T. S. Eliot constructs the review's totalizing account of culture. Dividing the epic's critical function from its style, Eliot not only includes history differently, but also formulates an intricately dialectical account of the interwar crisis of bourgeois culture, formed in the image of a Marxian critique it opposes. Part II turns to the second war's onset, tracing the dislocated formal effects of an epic gone underground. In the elegies and pastorals of W. H. Auden and Louis MacNeice, lyric forms divulge the determining force of unmentionable but universal events, dividing experience against consciousness. With H.D.'s war trilogy, produced in a terse exchange with Freud's Moses, even the poetic image lapses, associating epic with the silent historical force of the unconscious as such"--
Bridging modernist studies and science fiction scholarshipModernism and Time Machines places the fascination with time in canonical works of twentieth-century literature and art side-by-side with the rise of time-travel narratives and alternate histories in popular culture. Both modernism and this cardinal trope of science fiction produce a range of effects and insights that go beyond the exhilarations of simply sliding back and forth in history. Together the modernist time-obsession and the fantasy of moving in time help us to rethink the shapes of time, the consistency of timespace and the nature of history.Key FeaturesDraws on insights from a range of sources, including critical geography, postcolonial theory, science and technology studies, and time studiesExamines different kinds of objects together: SF, Impressionism, and Henri Lefebvre's rhythmanalysis; evolutionary biology, Eliot's The Waste Land, and Leinster's "e;Sidewise in Time"e;; Woolf, Philip K. Dick's alternate history, and the film Interstellar; bullet time, Faulkner's racialized lag, and Jessica Hagedorn's postcolonial anachronism; "e;big history,"e; Olaf Stapledon's two-billion-year novel of the human species, and Terrence Malick's film Tree of Life
Written by a leading critic, this invigorating introduction to modernist American poetry conveys the excitement that can be generated by a careful reading of modernist poems. Encourages readers to identify with the modernists’ sense of the revolutionary possibilities of their art. Embraces four generations of modernist American poets up through to the 1980s. Gives readers a sense of the ambitions, the disillusionments and the continuities of modernist poetry. Includes close readings of particular poems which show how readers can use these works to connect with what concerns them.
This book argues against the conventional idea that Protestantism effectively ceased to play an important role in American higher education around the end of the nineteenth century. Choosing Princeton as an example, P. C. Kemeny shows that Protestantism was not abandoned but rather modified to conform to the educational values and intellectual standards of the modern university. Drawing upon a wealth of neglected primary sources, such as correspondence, diaries, lecture notes, and publications and papers of presidents, professors, students, and trustees, the author sheds new light upon the role of religion in higher education.
Charles Taylor delves into the poetry of the Romantics and their heirs, a foundation of his distinctive philosophy of language. Taylor holds that Romantic poetry responded to disenchantment: with old cosmic orders depleted, artists groped to articulate new meanings by bringing connections to life rather than merely reasoning abstractly about life.
To make sense of free verse" in theory or in practice, the whole study of prosody--the function of rhythm in poetry--must be revised and rethought. Stating this as the issue that poets and critics have faced in the past century, Charles Hartman takes up the challenge and develops a theory of prosody that includes the most characteristic forms of twentieth-century poetry. Originally published in 1981. 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.
Charles Cashdollar reinterprets nineteenth-century British and American Protestant thought by identifying positivism as the central intellectual issue of the era. Positivism meant, at first, the ideas of the French thinker Auguste Comte; later in the century, the term indicated a more general opposition to supernatural religion. Cashdollar shows that contemporary thinkers recognized positivism, at each of these stages, as the most fundamental of the proliferating challenges to religious belief. He further reveals how the encounter with positivism altered Protestant orthodoxy--in both subtle and radical ways. Positivists denied that humans could know anything other than physical phenomena. Declaring many orthodox beliefs archaic, they proposed a new, ethically based vision of service to humanity. After portraying the dissemination of these positions among British and American Protestants, the author explains how each of several groups reacted. A few theologians rejected positivism outright, but many more responded by recasting their own beliefs. The implications of this story of change extend to such topics as Darwinism, Biblical criticism, the rise of the social sciences, theological liberalism and the Social Gospel, the beginnings of fundamentalism, and the twentieth-century debate about "creationism" and science. Originally published in 1989. 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.
Victorian Poets and the Changing Bible charts the impact of post-Enlightenment biblical criticism on English literary culture. The eighteenth and nineteenth centuries saw a widespread reevaluation of biblical inspiration, in which the Bible’s poetic nature came to be seen as an integral part of its religious significance. Understandably, then, many poets who followed this interpretative revolution—including Alfred, Lord Tennyson, Robert Browning, and Elizabeth Barrett Browning—came to reconceive their highest vocational ambitions: if the Bible is essentially poetry, then modern poetry might perform a cultural role akin to that of scripture. This context equally illuminates the aims and achievements of famous Victorian unbelievers such as Arthur Hugh Clough and George Eliot, who also responded enthusiastically to the poetic ideal of an inspired text. Building upon a recent and ongoing reevaluation of religion as a vital aspect of Victorian culture, Charles LaPorte shows the enduring relevance of religion in a period usually associated with its decline. In doing so, he helps to delineate the midcentury shape of a literary dynamic that is generally better understood in Romantic poetry of the earlier part of the century. The poets he examines all wrestled with modern findings about the Bible's fortuitous historical composition, yet they owed much of their extraordinary literary success to their ability to capitalize upon the progress of avant-garde biblical interpretation. This book's revisionary and provocative thesis speaks not only to the course of English poetics but also to the logic of nineteenth-century literary hierarchies and to the continuing evolution of religion in the modern era. Victorian Literature and Culture Series
This book argues for a new attention to the importance of beauty and the aesthetic in our response to poetry. Charles Martindale explores ways in which Kant's aesthetic theory, as set out in the Critique of Judgement, remains of fundamental importance for the modern critic. He argues that the Kantian 'judgement of taste' is not formalist, and explores the relationship between the aesthetic and the political in our responses to art. Finally he urges the value of aesthetic criticism as pioneered by Walter Pater and others. The (mainly Latin) poems discussed are all translated, and the book will be of interest not only to classicists but to anyone interested in aesthetics, aestheticism, poetry, reception, comparative literature, and critical theory.
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