The setting of this play is projected into the near future when we might envisage a global pilot scheme to establish an ideal campus. But what could that be? In German there is a saying "Unter den Talaren ist der Muff von Tausend Jahren." Under the scholar's gown is the stale fluff of a thousand years. Can the new age campus retain the best of ancient tradition and liberate itself from much in that tradition which is in dire need of reform? The clash of personalities coincides with a clash of attitudes and philosophies. On a more personal level two ambitious members of the academic faculty contend for the hand of a young student, who happens to be the daughter of the Head of the English department. The student body is enraged by the imposition of a video-controlled surveillance system known as the BEAST, and, taking a lead from Shakespeare, they retreat to the green wood.
A motley collection of poems in which the many aspects of love find expression, its anguish and disappointments as well as its joys, its funny side as well as its profound seriousness.
Wandering" in the sense indicated in the title of this book concerns the fact that within the ambit of German and English literature since the days of Shakespeare words based on the root of the verbs 'to wander' and 'wandern' appear with great frequency and prominence in such titles as "Wandrers Nachtlied" and "I wandered lonely as a cloud." Is it not strange then that very little interest has been taken in this phenomenon on the part of leading literary critics and scholars with one or two notable exceptions? One reason for this neglect might lie in intransient attitudes and dogmatic theories that deny the very relevance of high literature to all things external in common life, social conditions and the quest for truth.
The reference to 'questing unity" pertains to many different subjects and themes involving grappling with issues in such areas as comparative literature, linguistics, literature, history and mythology. In all events every comparison implies a criterion wide enough to comprehend the scope of the common area occupied by the subjects of comparison, whether the inquirer is aware f it or not. Thus comparison involves delving into one's own psyche, or not? Without the assumption of a universal underlying unity: no religion, no science and no sanity.
A mixed bag? The expression often connotes that something or other has good and less good aspects. But, as they say, variety is the spice of life. Salads and potpourris can be delicious. Once one of my tutors called a paper I had writtem "a salad." I now take that appraisal as a compliment.
The word "Trump" in the title serves as a nexus for ideas, associations and thoughts, some of a purely personal nature, thus giving rise to a medley of forms, essays, dialogues that hang together in some way.
Normally we consider only one context to establish the sense of a word to which a dictionary applies more than one definition. The reader of poetry can consider many more contexts, such as those supplied by his or her familiarity with other works by the same author and with literary tradition. The theoretical basis of this study resides in an analysis of Ferdinand de Saussure's distinction between "langue" and "parole" and approaches to textual criticism predicated on this distinction, which is most clearly evident in the theoretical studies of the Russian Formalists. On the firm basis of an understanding of the difference between poetry and nonliterary prose this study unravels the issues which surround the prominence of words derived from the verbs "wandern" and "to wander" in German nd English respectively in such celebrated poems as "Wandrers Nachtlied," "I wandered lonely as a cloud" and William Blake's "London.:
Sometimes scholars and critics of literature tend to impose a pre-determined theory on their interpretation of subject matter. This book is predicated on a reversal of this trend by letting generalizations follow impressions that a close reading of certain literary texts instill in a reader's mind.
Even if we were to discover the historical truth about the origin of the legend of the Pied Piper of Hamelin, we still would not explain why its appeal to the imagination of artists and poets has been so extensive and the span of interpretations placed on the figure so divergent. The author of this book believes that the principle of reciprocity must be taken into account and this reflects the duality of the mind with its conscious and subconscious aspects. Can we align the Pied Piper with Ulysses and Gilgamesh on the basis of the mythology of the sun and its wandering surrogates as they journey through the night in quest of the anima, the eternal female?
This book consists of several articles on well-known works of literature, which include Hamlet, Wordsworth's poem known by its opening line 'I wandered lonely as a cloud' and Samuel Beckett's Waiting for Godot. The underlying approach is termed logocentric, word-based, confuting current theories that words do not constitute the basic stuff of poetry.
Normally we consider only one context to establish the sense of a word to which a dictionary applies more than one definition. The reader of poetry can consider many more contexts, such as those supplied by his or her familiarity with other works by the same author and with literary tradition. The theoretical basis of this study resides in an analysis of Ferdinand de Saussure's distinction between "langue" and "parole" and approaches to textual criticism predicated on this distinction, which is most clearly evident in the theoretical studies of the Russian Formalists. On the firm basis of an understanding of the difference between poetry and nonliterary prose this study unravels the issues which surround the prominence of words derived from the verbs "wandern" and "to wander" in German nd English respectively in such celebrated poems as "Wandrers Nachtlied," "I wandered lonely as a cloud" and William Blake's "London.:
A mixed bag? The expression often connotes that something or other has good and less good aspects. But, as they say, variety is the spice of life. Salads and potpourris can be delicious. Once one of my tutors called a paper I had writtem "a salad." I now take that appraisal as a compliment.
The title picture of Percy Bysshe Shelley in combination with the words 'Wandering" and "defence" imply that "wandering" is another way of saying "poetry," an inference to be drawn from the words of great poets of Shelley's generation. In every age most probably poetry needs to be defended anew. In Shelley's day the threat sprang from a philosophical climate that saw virtue in lucid unambiguous prose alone. Today leading theorists deny any vital connection between words found in poetry and literary prose and what they ostensibly point to in the world around. As such critics cannot find anything in 'wandering' to support their arguments they tend to ignore it as far as possible but words such as 'wanderer' are so deeply entrenched in German and English poetry that "wandering" resolutely stays put.
The allegory as a literary device is too often dismissed as being artificial and contrived, yet one scholar admits that an allegory arises spontaneously when a writer allows a symbolic traveller make one step towards a symbolic mountain. Therefore the resultant allegory cannot be subject to the writer's full control and conscious powers of prediction and determination. It has a life of its own.
Is a poem really about itself, a form of self-enunciation or a record of the process to which it owes its origin and existence? How far can poems about poems sustain themselves before yielding to some external theme and forgetting themselves? A second section of the book consists of studies of individual poems with a close eye on particular words. These include "I wandered lonely as a cloud" and Robert Browning's "The Pied Piper of Hamelin." Why do some popular and readily comprehensible poems or particularly obscure poems arouse less attention among critics than do most other works by great poets?
The reference to 'questing unity" pertains to many different subjects and themes involving grappling with issues in such areas as comparative literature, linguistics, literature, history and mythology. In all events every comparison implies a criterion wide enough to comprehend the scope of the common area occupied by the subjects of comparison, whether the inquirer is aware f it or not. Thus comparison involves delving into one's own psyche, or not? Without the assumption of a universal underlying unity: no religion, no science and no sanity.
Wandering" in the sense indicated in the title of this book concerns the fact that within the ambit of German and English literature since the days of Shakespeare words based on the root of the verbs 'to wander' and 'wandern' appear with great frequency and prominence in such titles as "Wandrers Nachtlied" and "I wandered lonely as a cloud." Is it not strange then that very little interest has been taken in this phenomenon on the part of leading literary critics and scholars with one or two notable exceptions? One reason for this neglect might lie in intransient attitudes and dogmatic theories that deny the very relevance of high literature to all things external in common life, social conditions and the quest for truth.
This book begins by outlining the salient acts of Vlad III, prince of Wallachia, "the Impaler" - alias Dracula and views him in his historical context. From this point of departure the book proceeds with a more general inquiry into the pertinence and relevance of the concept of evil within a broad context that includes a view of the world today.
The picture on the front cover may need a word of explanation. Why should the author appear holding a copy of one of his books? I hope this is not an indication of vanity in my case. I plead that the issue at stake here is reflexivity. After a while authors may find themselves reading long forgotten passages they have written and thus become the critics of their own works. Inevitably they will fault with lapses of style and inept or colourless forms of expression. On the other hand they may find the occasional felicitous turn of phrase and even purple passages among long screeds of otherwise mediocre prose. Why did these passages go under and what can be done to bring them to the surface to the possible gratification and enrichment of the reading public?
This anthology contains poems written by Julian scutts. As the words quoted from Milton's cheerful poem suggest, on the surface at least many poems are humorous in tone and even jaunty. However, a close reading reveals under the surface the verses concern serious and daunting subjects, such as human mortality
This book examines the words and structures that emerge from a scrutiny of some well-known works of literature including Wordsworth's "I wandered lonely as a cloud' and Macbeth. To judge by a scrutiny of his short stories, Somerset Maugham might have been a closet believer.
If one has to find a label to suit this book it could be something like 'time consciousness' or 'reconciling history and myth.' The picture of Sherlock Holmes on the reverse cover points to the task of deciphering dates and other specifics, which involves conscious effort and purposeful research. For the rest we see vegetation, the coloration of which could evoke thoughts of the Fall or Autumn and beyond that the sequence of the four seasons within the annual cycle. Dates in our calendars record history but also reflect the mood of one or other of the four seasons. It is this correlation that is to be investigated in the first section of this book. The other sections draw attention to 'wandering,' the process of the mind to reconcile daytime experience and the intuitive operations of the mind which our cultures associate with the moon and the night. In the terms of modern psychological theories we may speak of the quest of the libido to achieve union with the anima, its female counterpart in the psyche.
Many readers have noted that Robert Browning's poetry enchants and entertains by the sheer force of its typical vivacity and exuberance, and yet one scholar, Barbara Melchiori has detected a discrepancy between the overt message of his sentences and the implications of single tell-tale words. This book extends the enquiry into levels of significance that elude not only casual readers but also venerable scholars of literature.
The title echoes a line in John Donne's Holy Sonnets. Donne, a man of profound but not unquestioning faith, could contemplate death with greater assurance than many in this secular and materialistic age, yet we can, indeed must, come to terms with death according to whatever attitude, creed or other persuasion we adhere to. The portrait of John Donne is in the public domain in the Google imahe" domain
The word "Trump" in the title serves as a nexus for ideas, associations and thoughts, some of a purely personal nature, thus giving rise to a medley of forms, essays, dialogues that hang together in some way.
The stories contained in this book are strange, for though they depict the common places and situations known to all we feel that behind the edge of the familiar something or other is lurking, possibly the shadow of death that accompanies us most visibly when the sun is shining. But woe to him who like Peter Schlemihl in Chamisso's classic story loses his shadow and would give anything to have it back,
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