Joseph Conrad's comments about his works have commonly been dismissed as theoretically unsophisticated, while the critical notions of James, Woolf and Joyce have come to shape our understanding of the modern novel. Richard Ambrosini's study of Conrad's Fiction as Critical Discourse makes an original claim for the importance of his theoretical ideas as they are formed, tested, and eventually redefined in Heart of Darkness and Lord Jim. Setting the narrator's discourse in these tales in the context of the dynamic interplay of Conrad's fictional with his non-fictional writings, and of the transformations in his narrative forms, Ambrosini defines Conrad's view of fiction and the artistic ideal underlying his commitment as a writer in a new and challenging way. Conrad's innovatory techniques as a novelist are shown in the continuity of his theoretical enterprise, from the early search for an artistic prose and a personal novel form, to the later dislocations of perspective achieved by manipulation of conventions drawn from popular fiction. This reassessment of Conrad's critical thought offers a new perspective on the transition from the Victorian novel to contemporary fiction.
Edinburgh, late 1860s. Two young gentlemen, their heads buzzing with ideas and artistic ambitions, hang over North Bridge “watching the trains start southward and longing to start too,” the Walter Scott Monument a short way behind them, but their eyes fixed on the tracks leading South, to London and the Continent. In their Introduction the editors see this scene with his painter cousin as symbolically significant for Robert Louis Stevenson’s writing career. Through his connection with Europe, and especially France, he participated in an international exchange of ideas on art which led him in the 1870s to reinvent his relationship with his national literary tradition by exploring a variety of essayistic forms. He would eventually confront the shadow of the Scott Monument when he turned to novel writing in the ‘80s, but the nature of his innovations as a novelist cannot be understood without taking into account the lessons he learned in France. The papers that follow first explore the way Stevenson’s world-view and cultural background interacted with European landscape, literature and painting in that key early decade. Later chapters examine the influence of Stevenson on European writers (Proust, Cocteau, Brecht and Calvino) and on other creative artists. The volume aims to show how European culture contributed to Stevenson’s greatest achievements and then to explain why, with Stevenson ignored by Anglo-American critics for most of the twentieth century, he still remained an admired model for Europeans.
Il libro, interamente in inglese, è pensato per un corso di lingua da due moduli (sei crediti) nelle lauree triennali. Ciascuna unità didattica fornisce agli studenti gli strumenti per esercitarsi su una forma o struttura grammaticale e contiene testi in cui compaiono termini ricorrenti in una pluralità di linguaggi specialistici. Integrando il metodo comunicativo con testi costruiti intorno a temi storici o di attualità , il volume intende combinare lo studio di nozioni grammaticali di base e avanzate con la trasmissione di informazioni sulla geografia umana e storica, le istituzioni, la società , l'economia e il dibattito politico nella Gran Bretagna contemporanea. Annotation Supplied by Informazioni Editoriali
Hayatımda beni en çok etkileyen düşünür, psikolog Richard Nisbett'tir. Dünya görüşümü ondan aldım." -Malcolm Gladwell, The New York Times Book Review "Kötü haber, dünya hakkındaki sezgisel düşünme yöntemlerimiz yanlış. İyi haber ise, doğrusunu bulmak zor değil. Bu konular hakkında hiç kimse psikolog Richard Nisbett kadar donanımlı değildir. Hayatını insan aklının yetersizliklerini anlamaya ve bunları düzeltmeye adamıştır. Bu kitap tüm üniversitelerde zorunlu ders olarak okutulmalı." -Daniel Gilbert, Mutluluk Üzerine Çeşitlemeler kitabının yazarı "Daha iyi düşünmek, daha iyi kararlar almak ve daha mutlu olmak isteyenler, dünyanın en saygın sosyal psikologlarından Richard Nisbett'in bu muhteşem kitabını okumalılar. Diğer bir deyişle, herkes bu kitabı okumalı, ne kadar erken o kadar iyi!" -Timothy Wilson, Redirect: Changing the Storiews We Live By kitabının yazarı "Mindware sizi daha iyi bir düşünür, yatırımcı, ebeveyn, tüketici ve lider yapacak. Her sayfasında şaşıracak ve zevk alacaksınız. Her ülke matematik eğitimine bir iki yıl ara verip vatandaşlarına bu kitabı okutmalı." -Jonathan Haidt, The Righteous Mind: Why Good People Are Divided by Politics and Religion kitabının yazarı "Yirminci ve yirmi birinci yüzyılın tüm psikoloji araştırmaları bu harika kitapta damıtılmış. Bu kitapla hayatınız hakkında daha iyi kararlar almak için dev bir adım atacaksınız." -Carol Dweck, Mindset: The New Psychology of Success kitabının yazarı
Published to accompany an exhibition of Versace design that opened in 1997 - With commentary on the major inspirations and themes of the designer, his creative interpretations of the past, his visions of costumes for the opera and the dance, his ideas for the male and his innovative uses of different materials.
Joseph Conrad's comments about his works have commonly been dismissed as theoretically unsophisticated, while the critical notions of James, Woolf and Joyce have come to shape our understanding of the modern novel. Richard Ambrosini's study of Conrad's Fiction as Critical Discourse makes an original claim for the importance of his theoretical ideas as they are formed, tested, and eventually redefined in Heart of Darkness and Lord Jim. Setting the narrator's discourse in these tales in the context of the dynamic interplay of Conrad's fictional with his non-fictional writings, and of the transformations in his narrative forms, Ambrosini defines Conrad's view of fiction and the artistic ideal underlying his commitment as a writer in a new and challenging way. Conrad's innovatory techniques as a novelist are shown in the continuity of his theoretical enterprise, from the early search for an artistic prose and a personal novel form, to the later dislocations of perspective achieved by manipulation of conventions drawn from popular fiction. This reassessment of Conrad's critical thought offers a new perspective on the transition from the Victorian novel to contemporary fiction.
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