In 1966, a young Ph.D. fresh from Harvard came down to New Haven to take up a teaching position in the Yale English department, then widely viewed as the best in the world. In Another Life focuses in lucid retrospect on that time, place, and career, and on that moment within it which would define his destiny. Would he succeed, through native wit, hard work, intense ambition, and sheer good luck, in rising through the ranks, pleasing senior colleagues, weathering the shifting winds of critical doctrine and storms of institutional politics, to achieve that most glittering, coveted, and rarely conferred of prizes: tenure at Yale? A campus novel, full of eccentric characters and bizarre twists and turns? Well, like his quest for tenure, it's a case of yes and no. For all this actually happened. Yet it's more than a personal memoir. In Another Life reflects-and reflects on-the so-called 'crisis in English' at a time when new doctrines-'structuralism, ' 'deconstruction, ' 'theory'-were bending literary studies into unaccustomed postures, particularly at Yale. But it also reflects the powerful forces at work on higher education from the wider world outside: the political and economic pressures that were transforming an older 'elitist' culture, with literature and the humanities at its core, into the more 'egalitarian' society-economistic, technological, and bureaucratic-that we all now inhabit. The author, a self-proclaimed 'meritocrat, ' finds himself deeply at odds with both worlds, and without succour or support from either as he staggers between them. But what a good read it is for those prepared to entertain the issues it raises! Trenchantly observed and written, this is the story of one man's effort to work out his separate peace with an institution he finds increasingly alienating and absurd. Its style alone will make any but the most politically correct of readers smile through her tears
Several generations of Roman lyric poets are brought together here, freshly translated into modern English verse. What links them is the theme of love in all its variations, as much in the air then and there as it is here and now. These great poets knew each other, were conversant with one anothers work, which they echoed, parodied, and paid homage in the forms and figures they deployed. Its a classic case of influence, the process by which poetry propagates itself through all ages and cultures. Bawdy, delicate, offbeat, and often sublime, love is represented here in all its modes, thanks to the craft and tact of the translator. Catullus passionate intensity, Horaces worldly wisdom, Propertius metaphysical wit, and Ovids stylish flippancy are all on display in a disciplined English verse that might have been--and was--written yesterday. If, at school, you found Latin an affliction, here is your remedy. If you loved for its austere simplicity, here is your chance to take up with it again at a reunion banquet. If youve never studied it, its time to make its acquaintance. The full scope of love poetry is here on view in the work of these Roman masters, and their background and technique explored in their translators vivid introduction. His point is simple: the more things change, the more they stay the same.
With its epic models, Homers Iliad and Odyssey, Virgils Aeneid ranks among the greatest poems, not only of classical antiquity, but of all time. It tells the story of Aeneas, who leads a band of survivors from fallen Troy through wandering and war to found the city that will become imperial Rome. Fully equal to Homer in narrative sweep, dramatic power, and lyric intensity, Virgils epic outshines its models in the passion and compassion with which its characters, even its heros formidable opponents, are delineated: Dido, the African queen and femme fatale who would hold him back from his mission; and Turnus, the proud Italian prince he must overcomeultimately in single combatto fulfill it. Even the gods above are all too human. A fairy-tale? Of course; but the grandest fairy-tale of western culture, whose later literature it has fundamentally shaped. Not surprisingly, few works have been so oftenor so inadequatelytranslated. Its not just a matter of classical Latin into modern English; in itself, thats not so hard. Its the aura of the great original: its classical flavour, cultural significance, and stately poetic style have never been, perhaps never can be, captured. Yet that is what this translation sets out to do. It begins from our side of the classics, from the western literature the poem has so deeply influenced, and reflects the narrative fluency, dazzling lyricism, and distinctive dignity of Virgils poem in a fresh and unstilted blank verse resonant with English and American tradition. The result is the most readable version ever. The problems and principles such a project involves are aired in an introduction that illuminates Virgils great work as never before. Enjoy!
In 1966, a young Ph.D. fresh from Harvard came down to New Haven to take up a teaching position in the Yale English department, then widely viewed as the best in the world. In Another Life focuses in lucid retrospect on that time, place, and career, and on that moment within it which would define his destiny. Would he succeed, through native wit, hard work, intense ambition, and sheer good luck, in rising through the ranks, pleasing senior colleagues, weathering the shifting winds of critical doctrine and storms of institutional politics, to achieve that most glittering, coveted, and rarely conferred of prizes: tenure at Yale? A campus novel, full of eccentric characters and bizarre twists and turns? Well, like his quest for tenure, its a case of yes and no. For all this actually happened. Yet its more than a personal memoir. In Another Life reflectsand reflects onthe so-called crisis in English at a time when new doctrinesstructuralism, deconstruction, theorywere bending literary studies into unaccustomed postures, particularly at Yale. But it also reflects the powerful forces at work on higher education from the wider world outside: the political and economic pressures that were transforming an older elitist culture, with literature and the humanities at its core, into the more egalitarian societyeconomistic, technological, and bureaucraticthat we all now inhabit. The author, a self-proclaimed meritocrat, finds himself deeply at odds with both worlds, and without succour or support from either as he staggers between them. But what a good read it is for those prepared to entertain the issues it raises! Trenchantly observed and written, this is the story of one mans effort to work out his separate peace with an institution he finds increasingly alienating and absurd. Its style alone will make any but the most politically correct of readers smile through her tears!
We are often told that Shakespeare is our contemporary, yet we insist just as often on the Elizabethan quality of his work as it reflects a culture remote from our own. Beginning with this paradox, Howard Felperin explores the question of modernity in literature. He directs his attention toward several older poets and examines Shakespeare in particular to show how literary modernity depends, not on chronological considerations, but on the process of mimesis, or imitation, that art has traditionally claimed for itself. In analyzing Shakespeare's major tragedies, Professor Felperin notes that each carries within it a model of its dramatic prototypes, and therefore requires a conservative response from its interpreters. In the interest of being truer to life than its model, however, each play departs from that model and so requires a Romantic or modernist response as well. The author contends that Shakespeare's meaning arises from this ambivalent relation to the forms of the past. Originally published in 1978. 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.
If Shakespeare's last plays—Pericles, Cymbeline, The Winter's Tale, The Tempest, and Henry VIII—are to be neither debunked nor idealized but taken seriously on their own terms, they must be examined within the traditions and conventions of romance. Howard Felperin defines this relatively neglected literary mode and locates these plays within it. But, as he shows, romance was not simply an established genre in which Shakespeare worked at both the beginning and end of his career but a mode of perceiving the world that pervades and shapes his entire work. The last plays are examined to answer such questions as: How does Shakespeare raise to a higher power the conventions of romance available to him, particularly those of the native medieval drama? How does he bring us to accept these elements of romance? Above all, how does romance, the mode in which the imagination enjoys its freest expression, become the vehicle, not of beautiful, escapist fantasy but of moral truth? Originally published in 1972. 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.
When fast-breaking political events forced British novelist Jacobson (Peeping Tom) to put off a trip to Lithuania planned as a search for his Jewish roots, he accepted an offer from the BBC to visit Jewish communities around the globe instead. This informed and witty account of his experiences deals with the wide variety of contemporary Jewish life, as well as with how Jacobson's observations affected his own concept of what it means to be a Jew. Riding an emotional roller coaster, he witnessed the hostility between Jews and African Americans in New York City, attended services in a gay synagogue in California and found his basic cynicism about religion reinforced after he spent time with Orthodox Jews in Israel, although his spirits were lifted by a visit to an idealistic, tolerant Israeli kibbutz. His journey concluded with the postponed trip to Lithuania, where the author found virulent anti-Semitism.
We are often told that Shakespeare is our contemporary, yet we insist just as often on the Elizabethan quality of his work as it reflects a culture remote from our own. Beginning with this paradox, Howard Felperin explores the question of modernity in literature. He directs his attention toward several older poets and examines Shakespeare in particular to show how literary modernity depends, not on chronological considerations, but on the process of mimesis, or imitation, that art has traditionally claimed for itself. In analyzing Shakespeare's major tragedies, Professor Felperin notes that each carries within it a model of its dramatic prototypes, and therefore requires a conservative response from its interpreters. In the interest of being truer to life than its model, however, each play departs from that model and so requires a Romantic or modernist response as well. The author contends that Shakespeare's meaning arises from this ambivalent relation to the forms of the past. Originally published in 1978. 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.
Several generations of Roman lyric poets are brought together here, freshly translated into modern English verse. What links them is the theme of love in all its variations, as much in the air then and there as it is here and now. These great poets knew each other, were conversant with one anothers work, which they echoed, parodied, and paid homage in the forms and figures they deployed. Its a classic case of influence, the process by which poetry propagates itself through all ages and cultures. Bawdy, delicate, offbeat, and often sublime, love is represented here in all its modes, thanks to the craft and tact of the translator. Catullus passionate intensity, Horaces worldly wisdom, Propertius metaphysical wit, and Ovids stylish flippancy are all on display in a disciplined English verse that might have been--and was--written yesterday. If, at school, you found Latin an affliction, here is your remedy. If you loved for its austere simplicity, here is your chance to take up with it again at a reunion banquet. If youve never studied it, its time to make its acquaintance. The full scope of love poetry is here on view in the work of these Roman masters, and their background and technique explored in their translators vivid introduction. His point is simple: the more things change, the more they stay the same.
If Shakespeare's last plays—Pericles, Cymbeline, The Winter's Tale, The Tempest, and Henry VIII—are to be neither debunked nor idealized but taken seriously on their own terms, they must be examined within the traditions and conventions of romance. Howard Felperin defines this relatively neglected literary mode and locates these plays within it. But, as he shows, romance was not simply an established genre in which Shakespeare worked at both the beginning and end of his career but a mode of perceiving the world that pervades and shapes his entire work. The last plays are examined to answer such questions as: How does Shakespeare raise to a higher power the conventions of romance available to him, particularly those of the native medieval drama? How does he bring us to accept these elements of romance? Above all, how does romance, the mode in which the imagination enjoys its freest expression, become the vehicle, not of beautiful, escapist fantasy but of moral truth? Originally published in 1972. 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.
With its epic models, Homers Iliad and Odyssey, Virgils Aeneid ranks among the greatest poems, not only of classical antiquity, but of all time. It tells the story of Aeneas, who leads a band of survivors from fallen Troy through wandering and war to found the city that will become imperial Rome. Fully equal to Homer in narrative sweep, dramatic power, and lyric intensity, Virgils epic outshines its models in the passion and compassion with which its characters, even its heros formidable opponents, are delineated: Dido, the African queen and femme fatale who would hold him back from his mission; and Turnus, the proud Italian prince he must overcomeultimately in single combatto fulfill it. Even the gods above are all too human. A fairy-tale? Of course; but the grandest fairy-tale of western culture, whose later literature it has fundamentally shaped. Not surprisingly, few works have been so oftenor so inadequatelytranslated. Its not just a matter of classical Latin into modern English; in itself, thats not so hard. Its the aura of the great original: its classical flavour, cultural significance, and stately poetic style have never been, perhaps never can be, captured. Yet that is what this translation sets out to do. It begins from our side of the classics, from the western literature the poem has so deeply influenced, and reflects the narrative fluency, dazzling lyricism, and distinctive dignity of Virgils poem in a fresh and unstilted blank verse resonant with English and American tradition. The result is the most readable version ever. The problems and principles such a project involves are aired in an introduction that illuminates Virgils great work as never before. Enjoy!
There is something old-fashioned and sage-like in Walter Howard's poetic voice. I can imagine him reading from a mountaintop-- with the raging elements a backdrop to his words. Howard is a learned man-- and has been an academic for many years-- but his poetry is in the tradition of a true romantic. He uses nature and emotion to find spiritual truth. He embraces beauty-- with all its allure, but is not afraid to reveal its frightening and dark side as well. Howard uses ample doses of levity to pull the fly down on our most cherished traditions and notions, but in the same token he shows a deep respect and affinity for all the things this world has to offer." - Doug Holder, Publisher of Ibbetson Street Press
Happy Days, The Andy Griffith Show, Gentle Ben--these shows captivated millions of TV viewers in the '60s and '70s. Join award-winning filmmaker Ron Howard and audience-favorite actor Clint Howard as they frankly and fondly share their unusual family story of navigating and surviving life as sibling child actors. "What was it like to grow up on TV?" Ron Howard has been asked this question throughout his adult life. in The Boys, he and his younger brother, Clint, examine their childhoods in detail for the first time. For Ron, playing Opie on The Andy Griffith Show and Richie Cunningham on Happy Days offered fame, joy, and opportunity--but also invited stress and bullying. For Clint, a fast start on such programs as Gentle Ben and Star Trek petered out in adolescence, with some tough consequences and lessons. With the perspective of time and success--Ron as a filmmaker, producer, and Hollywood A-lister, Clint as a busy character actor--the Howard brothers delve deep into an upbringing that seemed normal to them yet was anything but. Their Midwestern parents, Rance and Jean, moved to California to pursue their own showbiz dreams. But it was their young sons who found steady employment as actors. Rance put aside his ego and ambition to become Ron and Clint's teacher, sage, and moral compass. Jean became their loving protector--sometimes over-protector--from the snares and traps of Hollywood. By turns confessional, nostalgic, heartwarming, and harrowing, THE BOYS is a dual narrative that lifts the lid on the Howard brothers' closely held lives. It's the journey of a tight four-person family unit that held fast in an unforgiving business and of two brothers who survived "child-actor syndrome" to become fulfilled adults.
Meticulously restored text by renowned Howard scholar Paul Herman, this is the last in a ten-book definitive chronological collection of Robert E. Howard's stories that appeared in pulp magazines like the revered Weird Tales. Howard is the creator of the international icon, Conan the Cimmerian and considered the Godfather of Sword and Sorcery.
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