A full account of the reception of the second-century prose fiction The Golden Ass (or Metamorphoses) of Apuleius, which has intrigued readers as diverse as St Augustine, Petrarch, Boccaccio, Sidney, Spenser, Shakespeare, and Milton. Robert H. F. Carver traces readers' responses to the novel from the third to the seventeenth centuries.
Reprint of the original, first published in 1858. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
This dissertation presents the first critical edition of Menaphon by Robert Greene with the Preface by Thomas Nashe. The work was originally published in 1589 in London and was reprinted four times in the sixteenth and seventeenth centuries (1599, 1605, 1610, and 1616). For this edition three copies of the first edition and copies of all the other early editions have been collated. None of the later editions contains any revisions or additions that can be ascribed to either Nashe or Greene. Therefore the first edition is used in this edition as the copy-text. A full textual apparatus records all substantive variants and emendations of the text. The Introduction Includes bibliographic descriptions of the various early editions and discusses the relationship between the texts of the early editions. An essay on Nashe’s Preface places it in the context of his developing prose style. Greene’s Menaphon is treated in a separate essay concerned with the self-consciousness of the work, and its relation to various sources and influences such as Greek romance, Euphuism, and Sidney’s Old Arcadia. The Glossary at the end includes words which might not be easily understood, either because of peculiarity of spelling or because of specialized, archaic, or obsolete meaning.
Winner of the Hawthornden Prize and the Guardian Fiction Prize The most beloved comic figure in English literature decides that history hasn’t done him justice—it’s time for him to tell the whole unbuttoned story, his way. Irascible and still lecherous at eighty-one, Falstaff spins out these outrageously bawdy memoirs as an antidote to legend, and in the process manages to recreate his own. This splendidly written novel is a feast, opening wide the look and feel of another age and bringing Shakespeare’s Falstaff to life in a totally new way. Like Jack Falstaff himself, it’s sprawling, vivid, oversized—big as life. We return in an instant to an England that was ribald, violent, superstitious, coursing with high spirits and a fresh sense of national purpose. We see what history and the Bard of Avon overlooked or avoided: what really happened that celebrated night at the windmill when Falstaff and Justice Shallow heard the chimes at midnight; who really killed Hotspur; how many men fell at the Battle of Agincourt; what actually transpired at the coronation of Henry V ("Harry the Prig"); and just what it was that made the wives of Windsor so very merry. Falstaff "tells all" about Prince Hal, John of Gaunt ("that maniac"), Pistol, Bardolph, Doll Tearsheet, and Jane Nightwork. At the same time, his racy narrative offers us a tapestry of the Middle Ages: the Black Death and May Day; an expedition to Ireland and a pilgrimage to the Holy Land; nights at the Boar’s Head; the splendor of London Bridge; and hundreds of other sights and sounds and people zestfully recalled between scabrous opinions and irreverent meditations—in sum, the very flavor of a great age. The voice is unmistakably Falstaff’s and his great drama swaggers, laughs, and shouts across every page.
Can we learn from history? A timely problem in the light of the recent dramatic developments in the Middle East and the immanent threat of international terrorism.The from time to time uneasy relations between the Christian West and the Islam originate in the seventh and eighth centuries and took shape in the Renaissance when for the first time in history knowledge of the "Turks" – a synonym of "Muslims" – was growing fast on the basis of first-hand experience, whether as agents of a western power, or as captives of the Turks. Apart from the unhappy but apparently universal tendency to represent one's enemy as the personification of evil, the fifteenth and early sixteenth western characterizations of the Ottomans as the sworn foe of Christianity are still pervading our concepts and terms, and are still formative for our own views. The Shadow of the Crescent is re-issued, because the book is concerned with the image of the "Turk" in the West after the fall of Constantinople till the beginnings of the Reformation and deals with the western attitude toward the Ottomans and the growing importance of the Islam. Certainly the problems were, and still are immense; not exactly the same, but undoubtedly comparable. At least we can learn from this book that there is nothing new under the sun.
The essays in this volume investigate English, Italian, Spanish, German, Czech, and Bengali early modern theater, placing Shakespeare and his contemporaries in the theatrical contexts of western and central Europe, as well as the Indian sub-continent. Contributors explore the mobility of theatrical units, genres, performance practices, visual images, and dramatic texts across geo-linguistic borders in early modern Europe. Combining 'distant' and 'close' reading, a systemic and structural approach identifies common theatrical units, or 'theatergrams' as departure points for specifying the particular translations of theatrical cultures across national boundaries. The essays engage both 'dramatic' approaches (e.g., genre, plot, action, and the dramatic text) and 'theatrical' perspectives (e.g., costume, the body and gender of the actor). Following recent work in 'mobility studies,' mobility is examined from both material and symbolic angles, revealing both ample transnational movement and periodic resistance to border-crossing. Four final essays attend to the practical and theoretical dimensions of theatrical translation and adaptation, and contribute to the book’s overall inquiry into the ways in which values, properties, and identities are lost, transformed, or gained in movement across geo-linguistic borders.
Shakespeare's Blank Verse: An Alternative History is a study both of Shakespeare's versification and of its place in the history of early modern blank verse (unrhymed iambic pentameter). It ranges from the continental precursors of English blank verse in the early sixteenth century through the drama and poetry of Shakespeare's contemporaries to the editing of blank verse in the eighteenth century and beyond. Alternative in its argumentation as well as its arguments, Shakespeare's Blank Verse tries out fresh ways of thinking about meter—by shunning doctrinaire methods of apprehending a writer's versification, and by reconnecting meter to the fundamental literary, dramatic, historical, and social questions that animate Shakespeare's drama.
At a time when organized heritage protection in Asia is developing at a rapid pace, Architectural Conservation in Asia provides the first comprehensive overview of architectural conservation practice from Afghanistan to the Philippines. The country-by-country analysis adopted by the book draws out local insights, experiences, best practice and solutions for effective cultural heritage management that will inform study and practice both in Asia and beyond. Whereas architectural conservation in much of the Western world has been extensively documented, this book brings together coverage of many regions where architectural conservation has been understudied. Following on from the highly influential companion volumes on global architectural conservation and architectural conservation in Europe and the Americas, with this book the authors extend their pioneering global examination to the dynamic and evolving field of architectural conservation in Asia. Throughout the book, the authors and regional experts provide local case studies and profile topics that bring depth and insight to this ambitious study. As architectural conservation becomes increasingly global in practice, this book will be of considerable assistance to architectural conservation practitioners, site managers and students of architecture, planning, archaeology and heritage studies worldwide.
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