In one of the first ethnographies of contemporary studio music production, author Eliot Bates investigates the emergence of a transnational market for Anatolian minority popular musics in the Turkish music industry. With its unique interdisciplinary approach, Digital Traditions sets a new standard for the study of recorded music.
Sir Charles Eliot's "Hinduism and Buddhism, An Historical Sketch, Vol. 3" is a gigantic work that provides a comprehensive analysis of the origins, development, and historical circumstances of Hinduism and Buddhism. This scholarly masterwork demonstrates Eliot's remarkable comprehension of both of the main Asian religions and their effect on Indian and global cultures and society. Volume 3 dives into Hinduism's ancient roots, chronicling its development from the earliest Vedic traditions to the diverse and multifaceted belief systems which developed over time. He explores Hinduism's philosophical, mythical, and ritual parts, providing readers an in-depth knowledge of its many customs and beliefs. Furthermore, the book exhaustively traces Buddhism's rise, its founder, Siddhartha Gautama (Buddha), and the spread of this transforming spiritual movement throughout Asia. Eliot investigates not only the tenets and customs of Buddhism, but also its historical relationships with Hinduism and the larger social milieu. Some stories are brutal and weird, while others creep up on you and draw you in slowly. This version of "Hinduism and Buddhism, An Historical Sketch, Vol. 3" is both modern and legible, with an eye-catching new cover and professionally typeset manuscript.
Probably the first thought which will occur to the reader who is acquainted with the matters treated in this work will be that the subject is too large. A history of Hinduism or Buddhism or even of both within the frontiers of India may be a profitable though arduous task, but to attempt a historical sketch of the two faiths in their whole duration and extension over Eastern Asia is to choose a scene unsuited to any canvas which can be prepared at the present day. Not only is the breadth of the landscape enormous but in some places it is crowded with details which cannot be omitted while in others the principal features are hidden by a mist which obscures the unity and connection of the whole composition. No one can feel these difficulties more than I do myself or approach his work with more diffidence, yet I venture to think that wide surveys may sometimes be useful and are needed in the present state of oriental studies. For the reality of Indian influence in Asia—from Japan to the frontiers of Persia, from Manchuria to Java, from Burma to Mongolia—is undoubted and the influence is one. You cannot separate Hinduism from Buddhism, for without it Hinduism could not have assumed its medieval shape and some forms of Buddhism, such as Lamaism, countenance Brahmanic deities and ceremonies, while in Java and Camboja the two religions were avowedly combined and declared to be the same. Neither is it convenient to separate the fortunes of Buddhism and Hinduism outside India from their history within it, for although the importance of Buddhism depends largely on its foreign conquests, the forms which it assumed in its new territories can be understood only by reference to the religious condition of India at the periods when successive missions were despatched.
The Armor Hunters never leave a man behind! Multiple Harvey Award nominee James Asmus (QUANTUM AND WOODY) and rising star Diego Bernard (X-O MANOWAR) rocket UNITY into their most action-packed battle yet! GIN-GR, the reformed killer robot who destroyed Mexico City and rampaged through downtown Los Angeles during the Armor Hunters? attack, has turned on her Unity teammates! As she perpetrates the world?s most unstoppable jailbreak? a head-first, guns-blazing, kamikaze flight straight into the military base that holds her one-time squad ? can X-O Manowar, Livewire, Ninjak, and the Eternal Warrior stop the giant engine of destruction? while trapped inside it? Then: Matt Kindt presents the grand finale to his acclaimed two-year run on Valiant?s premier superteam?but not before James Asmus (QUANTUM AND WOODY), Elliott Kalan (The Daily Show), Michael Kupperman (Tales Designed to Thrizzle), and more put Unity through the wringer! Collecting?UNITY #23-25.
DIV T. S. Eliot writes the letters contained in this volume during a period of weighty responsibilities as husband and increasing demands as editor and publisher. He cultivates the support of prominent guarantors to secure the future of his periodical, The Monthly Criterion, even as he loyally looks after his wife, Vivien, now home after months in a French psychiatric hospital. Eliot corresponds with writers throughout Great Britain, Europe, and the United States while also forging links with the foremost reviews in London, Berlin, Paris, Madrid, and Milan. He generously promotes many other writers, among them Louis Zukofsky and Edward Dahlberg, and manages to complete a variety of writings himself, including the much-loved poem A Song for Simeon, a brilliant introduction to Wilkie Collins’s The Moonstone, and many more. /div
This fifth volume of the collected letters of poet, playwright, essayist, and literary critic Thomas Stearns Eliot covers the years 1930 through 1931. It was during this period that the acclaimed American-born writer earnestly embraced his newly avowed Anglo-Catholic faith, a decision that earned him the antagonism of friends like Virginia Woolf and Herbert Read. Also evidenced in these correspondences is Eliot’s growing estrangement from his wife Vivien, with the writer’s newfound dedication to the Anglican Church exacerbating the unhappiness of an already tormented union. Yet despite his personal trials, this period was one of great literary activity for Eliot. In 1930 he composed the poems Ash-Wednesday and Marina, and published Coriolan and a translation of Saint-John Perse’s Anabase the following year. As director at the British publishing house Faber & Faber and editor of The Criterion, he encouraged W. H. Auden, Stephen Spender, Louis MacNeice, and Ralph Hogdson, published James Joyce’s Haveth Childers Everywhere, and turned down a book proposal from Eric Blair, better known by his pen name, George Orwell. Through Eliot’s correspondences from this time the reader gets a full-bodied view of a great artist at a personal, professional, and spiritual crossroads.
Certain of these poems first appeared in Poetry, Blast, Others, The Little Review, and Art and Letters. Contents: Gerontion; Burbank with a Baedeker: Bleistein with a Cigar; Sweeney Erect; A Cooking Egg; Le Directeur; Melange adultere de tout; Lune de Miel; The Hippopotamus; Dans le Restaurant; Whispers of Immortality; Mr. Eliot's Sunday Morning Service; Sweeney Among the Nightingales; The Love Song of J. Alfred Prufrock; Portrait of a Lady; Preludes; Rhapsody on a Windy Night; Morning at the Window; The Boston Evening Transcript; Aunt Helen; Cousin Nancy; Mr. Apollinax; Hysteria; Conversation Galante; La Figlia Che Pianga.
The first volume of Eliot's correspondence covers his childhood in St. Louis, Missouri, through 1922, when he married and settled in England. Volume two covers the time period of Eliot's publication of The Hallow Men and his developing ideas about poetry.
Volume One: 1898–1922 presents some 1,400 letters encompassing the years of Eliot's childhood in St. Louis, Missouri, through 1922, by which time the poet had settled in England, married his first wife, and published The Waste Land. Since the first publication of this volume in 1988, many new materials from British and American sources have come to light. More than two hundred of these newly discovered letters are now included, filling crucial gaps in the record and shedding new light on Eliot's activities in London during and after the First World War. Volume Two: 1923–1925 covers the early years of Eliot's editorship of The Criterion, publication of The Hollow Men, and his developing thought about poetry and poetics. The volume offers 1,400 letters, charting Eliot's journey toward conversion to the Anglican faith, as well as his transformation from banker to publisher and his appointment as director of the new publishing house Faber & Gwyer. The prolific and various correspondence in this volume testifies to Eliot's growing influence as cultural commentator and editor.
Harry el Maníaco no es humano, no se le puede matar, no se le puede detener... Que es por lo que la solución de las autoridades ha sido ignorarle y dejar que los neoyorquinos se adapten a un mundo en el que este asesino puede golpear en cualquier momento. Cuando Harry el Maníaco empieza a matar en el metro, la traumatizada Gina Greene, nueva directora del Cuerpo Especial del Maníaco, y Zelda Pettibone, una detective del Departamento de Policía de Nueva York caída en desgracia, deciden armarse de valor e ir a por él. Pero ¿cómo van a enfrentarse a un monstruo si son incapaces de enfrentarse a la alcaldía? En este volumen se incluyen los números 1 a 5 de la aclamada serie de Elliott Kalan y Andrea Mutti. «Kalan y Mutti han dado forma a una historia que resulta verdaderamente inquietante». // Horror DNA «Kalan lo clava y el dibujo de Mutti capta la intensidad con suma belleza». // Comic Crusaders «¡Quiero mucho más!». // The Fandom Post " Editorial: Aftershock
Newly revised and in paperback for the first time, this definitive, annotated edition of T. S. Eliot's "The Waste Land "includes as a bonus""all the essays Eliot wrote as he was composing his masterpiece. Enriched with period photographs, a London map of cited locations, groundbreaking information on the origins of the work, and full annotations, the volume is itself a landmark in literary history. "More than any previous editor, Rainey provides the reader with every resource that might help explain the genesis and significance of the poem. . . . The most imaginative and useful edition of "The Waste Land" ever published."--Adam Kirsch, "New Criterion ""For the student or for anyone who wants to get the maximum amount of information out of a foundational modernist work, this is the best available edition."--"Publishers Weekly
T. S. Eliot's career as a successful stage dramatist gathers pace throughout the fascinating letters of this volume. Following his early experimentation with the dark comedy Sweeney Agonistes (1932), Eliot is invited to write the words of an ambitious scenario sketched out by the producer-director E. Martin Browne (who was to direct all of Eliot's plays) for a grand pageant called The Rock (1934). The ensuing applause leads to a commission from the Bishop of Chichester to write a play for the Canterbury Festival, resulting in the quasi-liturgical masterpiece of dramatic writing, Murder in the Cathedral (1935). A huge commercial success, it remains in repertoire after eighty years.Even while absorbed in time-consuming theatre work, Eliot remains untiring in promoting the writers on Faber's ever broadening lists - George Barker, Marianne Moore and Louis MacNeice among them. In addition, Eliot works hard for the Christian Church he has espoused in recent years, serving on committees for the Church Union and the Church Literature Association, and creating at Faber & Faber a book list that embraces works on church history, theology and liturgy. Having separated from his wife Vivien in 1933, he is anxious to avoid running into her; but she refuses to comprehend that her husband has chosen to leave her and stalks him across literary society, leading to his place of work at the offices of Faber & Faber. The correspondence draws in detail upon Vivien's letters and diaries to provide a picture of her mental state and way of life - and to help the reader to appreciate her thoughts and feelings.
In two highly anticipated volumes, the correspondence of the twentieth century's eminent man of letters, from youth to early manhood Volume One: 1898–1922 presents some 1,400 letters encompassing the years of Eliot's childhood in St. Louis, Missouri, through 1922, by which time the poet had settled in England, married his first wife, and published The Waste Land. Since the first publication of this volume in 1988, many new materials from British and American sources have come to light. More than two hundred of these newly discovered letters are now included, filling crucial gaps in the record and shedding new light on Eliot's activities in London during and after the First World War.Volume Two: 1923–1925 covers the early years of Eliot's editorship of The Criterion, publication of The Hollow Men, and his developing thought about poetry and poetics. The volume offers 1,400 letters, charting Eliot's journey toward conversion to the Anglican faith, as well as his transformation from banker to publisher and his appointment as director of the new publishing house Faber & Gwyer. The prolific and various correspondence in this volume testifies to Eliot's growing influence as cultural commentator and editor.
Eliot is called upon to become the completely public man. He gives talks, lectures, readings and broadcasts, and even school prize-day addresses. As editor and publisher, his work is unrelenting, commissioning works ranging from Michael Roberts's The Modern Mind to Elizabeth Bowen's anthology The Faber Book of Modern Stories. Other letters reveal Eliot's delight in close friends such as John Hayward, Virginia Woolf and Polly Tandy, and his colleagues Geoffrey Faber and Frank Morley, as well as his growing troupe of godchildren - to whom he despatches many of the verses that will ultimately be gathered up in Old Possum's Book of Practical Cats (1939). The volume covers his separation from first wife Vivien, and tells the full story of the decision taken by her brother, following the best available medical advice, to commit her to an asylum - after she had been found wandering in the streets of London. All the while these numerous strands of correspondence are being played out, Eliot struggles to find the time to compose his second play, The Family Reunion (1939), which is finally completed in 1938.
Despairing of his volatile, unstable wife, T. S. Eliot, at 44, resolves to put an end to the torture of his eighteen-year marriage.He breaks free from September 1932 by becoming Norton Lecturer at Harvard. His lectures will be published as The Use of Poetry and the Use of Criticism (1933). He also delivers the Page-Barbour Lectures at Virginia (After Strange Gods, 1934). At Christmas he visits Emily Hale, to whom he is 'obviously devoted'. He gives talks all over - New York, California, Missouri, Minnesota, Chicago - and the letters describing encounters with F. Scott Fitzgerald, Edmund Wilson and Marianne Moore ('a real Gillette blade') brim with gossip. High points include the première at Vassar College of his comic melodrama Sweeney Agonistes (1932). The year 'was the happiest I can ever remember in my life . . . successful and amusing.'Returning home, he hides out in the country while making known to Vivien his decision to leave her. But he is exasperated when she buries herself in denial: she will not accept a Deed of Separation. The close of 1933 is lifted when Eliot 'breaks into Show Business'. He is commissioned to write a 'mammoth Pageant': The Rock. This collaborative enterprise will be the proving-ground for the choric triumph of Murder in the Cathedral (1935).
The sixth volume of the personal correspondences of British literary giant T. S. Eliot The letters of T. S. Eliot collected in this sixth volume were written during the years the Nobel Prize–winning poet, playwright, critic, and essayist called, “the happiest I can ever remember in my life.” Penned in large part during his tour of Depression Era America, these letters reflect Eliot’s resolve to end his torturous eighteen-year marriage to his wife, Vivienne, and offer fascinating descriptions of the author’s encounters with F. Scott Fitzgerald, Edmund Wilson, Marianne Moore, and other notable figures.
DIV T. S. Eliot writes the letters contained in this volume during a period of weighty responsibilities as husband and increasing demands as editor and publisher. He cultivates the support of prominent guarantors to secure the future of his periodical, The Monthly Criterion, even as he loyally looks after his wife, Vivien, now home after months in a French psychiatric hospital. Eliot corresponds with writers throughout Great Britain, Europe, and the United States while also forging links with the foremost reviews in London, Berlin, Paris, Madrid, and Milan. He generously promotes many other writers, among them Louis Zukofsky and Edward Dahlberg, and manages to complete a variety of writings himself, including the much-loved poem A Song for Simeon, a brilliant introduction to Wilkie Collins’s The Moonstone, and many more. /div
In the period covered by this richly detailed collection, T. S. Eliot was to set a new course for his life and work. The demands of his professional life as writer and editor became more complex and exacting. The celebrated but financially-pressed periodical he had been editing since 1922—The Criterion: A Literary Review—switched between being a quarterly and a monthly; in addition to writing numerous essays and editorials, lectures, reviews, introductions and prefaces, his letters show Eliot involving himself wholeheartedly in the business of his new career as a publisher. This correspondence with friends and mentors vividly documents all the stages of Eliot’s personal and artistic transformation during these crucial years, the continuing anxieties of his private life, and the forging of his public reputation.
An American-English poet, playwright and influential literary critic, T. S. Eliot was a leader of the Modernist movement in poetry, producing important works such as ‘The Waste Land’ and ‘Prufrock’. His work exerted a strong influence on Anglo-American culture from the 1920’s until late on in the century. His experiments in diction, style and versification helped revitalise English poetry, while his critical essays challenged old orthodoxies and forged new approaches. Eliot was awarded the 1948 Nobel Prize in Literature “for his outstanding, pioneer contribution to present-day poetry”. The Delphi Poets Series offers readers the works of literature’s finest poets, with superior formatting. This volume presents Eliot’s collected works, with related illustrations and the usual Delphi bonus material. (Version 2) * Beautifully illustrated with images relating to Eliot’s life and works * Concise introductions to the major works * All poems in the US public domain * Images of how the books were first printed, giving your eReader a taste of the original texts * Excellent formatting of the poems * Rare poems often missed out of collections * Special chronological and alphabetical contents tables for the poetry * Easily locate the poems you want to read * Includes a selection of Eliot’s prose * Ordering of texts into chronological order and literary genres * UPDATED with more poems and prose texts CONTENTS: The Poetry Collections Prufrock and Other Observations (1917) Poems, 1920 The Waste Land (1922) The Hollow Men (1925) Miscellaneous Verses The Poems List of Poems in Chronological Order List of Poems in Alphabetical Order The Prose Eeldrop and Appleplex (1917) Ezra Pound (1918) The Sacred Wood (1920) Homage to John Dryden (1924) The Clark Lectures at Trinity College, Cambridge (1926)
A selection of the most significant and enduring poems from one of the twentieth century’s major writers, chosen and introduced by Vijay Seshadri T.S. Eliot was a towering figure in twentieth century literature, a renowned poet, playwright, and critic whose work—including “The Love Song of J. Alfred Prufrock” (1915), The Waste Land (1922), Four Quartets (1943), and Murder in the Cathedral (1935)—continues to be among the most-read and influential in the canon of American literature. The Essential T.S. Eliot collects Eliot’s most lasting and important poetry in one career-spanning volume, now with an introduction from Vijay Seshadri, one of our foremost poets.
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