Lucretius and Shakespeare on the Nature of Things maps large, new vistas for understanding the relationship between De rerum natura and Shakespeare’s works. In chapters on six important plays across the canon (King Lear, Macbeth, Hamlet, The Merchant of Venice, The Tempest, and A Midsummer Night’s Dream), it demonstrates that Shakespeare articulates his erotics of being, his “great creating nature” (The Winter’s Tale), by drawing on imagery he learned from Ovid and other classical poets, but especially from Lucretius, in his powerful epic that celebrates Venus and her endless creativity. Responding to Lucretius’s widely admired Latinity in his exposition of the life of man in nature, Shakespeare emerges as an early modern materialist who writes poetry that is effectively “atomic,” marked (as we might say today) by fission (hendiadys, for example) and fusion (synoeciosis, for example), joining and splitting, splitting and joining language and character as no other poet has ever done – To give away yourself keeps yourself still; My grave is like to be my wedding bed; I begin/To doubt the equivocation of the fiend/That lies like truth. Readers of Shoaf’s book will encounter anew, through both fresh evidence and close reading, Shakespeare’s universally acknowledged commitment to the art of nature and the nature of art. With Lucretius’s poetry as inspiration, Shakespeare becomes the poet of the material, both in art and in nature, immensely creative with his dædala lingua like dædala natura – his wonder-crafting tongue like wonder-working nature.
The poem that Richard Maidstone wrote on the metropolitan crisis of 1392 reports information about the royal entry that concluded the crisis in greater detail than any other source. The poem is not primarily a report, however; like Maidstone's other writings, it is above all an ideologically driven literary intervention, produced at a particular moment, addressing a particular political circumstance. . . . Maidstone's Concordia shows Anglo-Latin poetry, on a specific occasion, in the process of making itself a public poetry a broadly appealing, flexible, legible medium for addressing public issues.
Supplies the most essential concepts and methods necessary to capitalize on the innovations of industrial automation, including mathematical fundamentals, ergonometrics, industrial robotics, government safety regulations, and economic analyses.
Speechsong is a work of imaginative musicology that addresses the engimas of Schoenberg and Gould, of singing and speaking, of Moses und Aron, of technology and being. Its point of departure is Gould's last public performance, given at the Wilshire Ebell Theatre in Los Angeles, where a number of Schoenberg's works were performed during his California exile. It is here, after that last performance, that Gould encounters a spectral Schoenberg in a staged conversation that explores Schoenberg's travails in rethinking the fundamentals of Western music. This first part of Speechsong recalls Schoenberg's operatic masterpiece, Moses und Aron, in which the divinely inspired Moses seeks the help of his brother to relate his vision: Moses speaks and Aron sings. Written as a twelve-tone composition, the opera produces an involution of harmonics that was Schoenberg's response to Richard Wagner's diatribes about synagogue noise. For Gould, Schoenberg's is a formalist revolution; Schoenberg's life, however, suggests that it was a search for personal and political freedom.The second half of Speechsong is a critical essay in twelve "moments" that re-articulates the staged conversation as an inquiry into the intersections of music and mediation. Gould's turn to the recording studio emerges as a post-humanist inquiry into recorded music as a repudiation of the virtuoso tradition and a liberation from unitary notions of selfhood. Schoenberg's exodus from musical tradition likewise takes his twelve-tone invention beyond musical performance, where it emerges, along with Gould's soundscapes, as a prototype of acoustic installations by artists such as Stephen Prina and Cory Arcangel. In these works, music abandons the concert hall and the exigencies of harmony for an acoustic space that embraces at once the recordings of Gould and the performances of Schoenberg that have found their home on the internet. Richard Cavell has written extensively on Marshall McLuhan and on media theory generally. He is the co-founder of the Media Studies program at the University of British Columbia and the curator of the website Spectres of McLuhan. Speechsong, his second critical performance piece, was preceded by Marinetti Dines with the High Command (2014).
Increasing international concern is being expressed regarding the contamination of the environment with polychlorinated dibenzo-p dioxins (PCDDs) and polychlorinated dibenzofurans because certain of these chemicals have been shown to be highly toxic to animals and are ubiquitous in the environment. They are known to be distributed as contaminants of commercial products and as by-products from com bustion processes. A considerable volume of information has accumulated on these chemicals in the past two decades, particularly for the most toxic of them, 2,3,7,8-tetrach1orodibenzo-p-dioxin (2,3,7,8-TCDD). However, this body of knowledge has not succeeded in resolving genuine judgmental differences among experts in the field as to the degree of hazard to human health and the environment. In light of the widespread public concern, it is clearly imperative to come to grips with the continuing scientific controversy, to review the data, assess the issues, to see where areas of agreement exist, and where further research is needed to resolve remaining areas of disagree ment. This volume represents an effort to contribute to these goals.
Richard Neuse here explores the relationship between two great medieval epics, Dante's Divine Comedy and Chaucer's Canterbury Tales. He argues that Dante's attraction for Chaucer lay not so much in the spiritual dimension of the Divine Comedy as in the human. Borrowing Bertolt Brecht's phrase "epic theater," Neuse underscores the interest of both poets in presenting, as on a stage, flesh and blood characters in which readers would recognize the authors as well as themselves. As spiritual autobiography, both poems challenge the traditional medieval mode of allegory, with its tendency to separate body and soul, matter and spirit. Thus Neuse demonstrates that Chaucer and Dante embody a humanism not generally attributed to the fourteenth century. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1991.
Stats, history, and trivia -- from the 1901 through the 2003 season -- are all included in the latest edition of this popular, low-priced reference book.
“Unlike the standard nature guides that explain how to recognize common animals, Nature stresses the web of interrelationships that link the regional flora and fauna. This affectionate examination of some of North America’s most spectacular surviving old-growth forests will delight backpackers and armchair naturalists.” —Los Angeles Times Book Review Everything you ever wanted to know about the flora and fauna of Southeast Alaska is contained in the third edition of this lively field guide to the natural world, from bears to banana slugs, mountains to murrelets. The authors, who are both Alaskan residents and biologists, combine scientific research with personal experiences to make a definitive field guide for residents of or visitors to Southeast Alaska. The unique features of the book include: In-depth information about how wildlife coexists with the environment Detailed discussions of mammals, birds, fish, invertebrates, fungi, and plants Detailed map of wilderness areas in Southeast Alaska More than 200 black-and-white illustrations A bibliography, list of common and scientific names, and an index New to this edition: More than 100 new illustrations, many never before published, as well as new maps and photos Major expansion of sections on geology, old-growth forests, marine mammals, and amphibians Fifty-two new sidebars—written in the first person to give the text a more personal touch—that describe recent findings or experiences. Sweeping updates and elaborations to chapter narratives—often thanks to technology unknown in 1992. In-depth guide to Southeast Alaska’s flora and fauna; more than an identification manual, Nature explores how the species and habitats encountered in the woods and waters of Southeast Alaska fit into the bigger picture.
The Sports Encyclopedia: Baseball 2006 covers the history of every player and every team, with detailed statistics and summaries about each season, as well as full coverage of this year's exciting pennant and wild card races.
From reviews of the first edition: "Shoaf's book is an extraordinarily clever one, since it questions the roots and the seeds of Milton's rich language. [three dots] There is nothing superficial or external about his method. To read Shoaf is unnerving."--Roy Flannagan, Milton Quarterly With a new preface that places this book in the context of recent theory-oriented studies of Milton, R. A. Shoaf explores the connections between modern literary criticism and Renaissance poetry, focusing on rhetoric and rhetorical devices as instances --not just agents--of Milton's complex theological argument. Heeding the poet's concern for relationships (both human and divine), Shoaf proposes that the dual and the duel (Satan versus Christ, for example) are powerful heuristic tools in reading Milton. By turns defining, deflating, and punning, Shoaf probes such key terms in Milton as difference, contrary, pair, part, justify, and sign (in all its forms from resign to signify). He embarks on an "analysis of narcissism in sin and the sign," noting that Milton plots the fall of language on the same graph as the fall into sin and finding that for much of the way the curve for each is identical. In nine chapters of the book he comments on Paradise Lost; in others he deals with Paradise Regained, Samson Agonistes, and Spenser's Faerie Queene. Widely reviewed by scholars on its first publication, the book was praised for its striking insights. M. Lieb, writing in Choice magazine, said that the book "sensitize[s] the reader to the way in which language operates as an essentially heuristic phenomenon in Milton's poetry and prose." R. A. Shoaf, professor of English at the University of Florida, is the author of Dante, Chaucer, and the Currency of the Word: Money, Images, and Reference in Late Medieval Poetry (1983) and The Poem as Green Girdle: Commercium in "Sir Gawain and the Green Knight" (UPF, 1984). He is the founding and current editor of the award-winning Exemplaria: A Journal of Theory in Medieval and Renaissance Studies.
Lucretius and Shakespeare on the Nature of Things maps large, new vistas for understanding the relationship between De rerum natura and Shakespeareâ (TM)s works. In chapters on six important plays across the canon (King Lear, Macbeth, Hamlet, The Merchant of Venice, The Tempest, and A Midsummer Nightâ (TM)s Dream), it demonstrates that Shakespeare articulates his erotics of being, his â oegreat creating natureâ (The Winterâ (TM)s Tale), by drawing on imagery he learned from Ovid and other classical poets, but especially from Lucretius, in his powerful epic that celebrates Venus and her endless creativity. Responding to Lucretiusâ (TM)s widely admired Latinity in his exposition of the life of man in nature, Shakespeare emerges as an early modern materialist who writes poetry that is effectively â oeatomic, â marked (as we might say today) by fission (hendiadys, for example) and fusion (synoeciosis, for example), joining and splitting, splitting and joining language and character as no other poet has ever done â " To give away yourself keeps yourself still; My grave is like to be my wedding bed; I begin/To doubt the equivocation of the fiend/That lies like truth. Readers of Shoafâ (TM)s book will encounter anew, through both fresh evidence and close reading, Shakespeareâ (TM)s universally acknowledged commitment to the art of nature and the nature of art. With Lucretiusâ (TM)s poetry as inspiration, Shakespeare becomes the poet of the material, both in art and in nature, immensely creative with his dÃ]dala lingua like dÃ]dala natura â " his wonder-crafting tongue like wonder-working nature.
Chaucer's Body follows the fortunes of individual bodies in the Canterbury Tales to their surprising, often shocking, involvements in both the humor and the horror of being human. Neither wholly carnal nor wholly spiritual, bodies in Chaucer's poem emerge as sites of resistance to economic, political, social, and sexual forces. R. Allen Shoaf, one of America's foremost medievalists, focuses on the imagery of circulation in the Canterbury Tales, a ubiquitous trope that he cites as an index to Chaucer's sense of what it means to live in a mortal body. In particular, Shoaf argues, imagery of disease and contamination, as well as of intercourse, social and sexual alike, insists that the body's vulnerability is a necessary complement to its creativity. With a remarkably rich interplay between his main text and the notes, Shoaf examines not only what happens to physiological entities in the Tales as they circulate in nature and society but also how and why it happens. In lively and sometimes personal prose, Shoaf also offers new insights into Chaucer's language--especially his skill in the rhetoric of metonymy--that affirm the poet's status as one of the greatest English poets. When Chaucer's language transcends the limits of what currently are assumed to be its historical constraints, Shoaf writes, we find a poet who is as playfully serious with words as Shakespeare. This culmination of thirty years of reading, teaching, and writing about Chaucer will find an interested audience among all medievalists.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.