Not hubris but the ever self-renewing impulse to play calls new worlds into being. NietzscheParents and politicians have always taken play seriously. Its formative powers, its focus, its energy, and its ability to signify other things have drawn the attention of writers from Plato and Schiller to Wittgenstein, Nabokov, and Eco. The ease with which an election becomes perceived as a race, a political crisis as a football game, or an argument as a tennis match readily proves how much play means to contemporary life. Just how play confers meaning, however, is best revealed in literature, where meaning is perpetually at stake. At stake itself, the risk of a gamble, is only one intersection between play and life. "Playtexts" reveals numerous junctures where literary playfulness seemingly so diverting and irrelevant instead opens the most profound questions about creativity, community, value, and belief. How do authors play with their words and readers? Can literature proceed at all unless a reader is willing and able to play?No moralizing monologue, "Playtexts" is all for exuberance and creative surge: Breton s construction of an antinovel, Gombrowicz s struggle with adult formalities, Nabokov s swats at the humorless, Sarrazin s seductive notes, Eco s recasting of spy and detective fiction, Reyes s carnal metaphorics.
French Fiction Today focuses on the French novel in the twenty-first century, examining a series of works that are exemplary of broader currents in the genre. Each of these texts wagers insistently upon our willingness to speculate about literature and its uses, in an age when the value of literature is no longer taken as axiomatic. Each of these texts may be thought of as a critical novel, a form that calls upon us to engage with it in a critical manner, promising that meaning will arise in the articulation of writing and reading. Each of these authors participates in a debate about what the novel is as a cultural form in our present—and about what it may become, in a future that begins right now.
Mirror Gazing is a book about reading and looking, about what people seek when they read, and about what stares back at them from the printed page. It is an archival project, based on a wealth of material collected daily by celebrated critic Warren F. Motte over thirty-five years and squirreled away for some eventual winter. It is also a love letter, a confession, a tale of deep obsession, and a cry for help addressed to anyone who takes literature seriously. "At heart, this is not just a book about mirror scenes, interesting as they are-- and they are interesting. It's also a look at passion, at collection, at personal taxonomies and the game of creating order from disorder (do we ever win that game?). It's about how we read and why we read. And it's about the Delphic maxim, "Know thyself." Motte explores how characters look for (or suddenly catch) themselves in mirrors, as well as how (or whether) the act of writing is a reflection, distorted or true, of writers themselves."-- Julie Larios, Numero Cinq"I believe (and I'm choosing my words carefully) that this is the most extraordinary book about reading I have ever read" - Jacques Jouet"Wonderfully luminous, entertaining, thought-provoking, and wide-ranging...an essential book" - Gerald Prince"Motte has collected around ten thousand mirror scenes from roughly 1,500 books. This, in and of itself, is noteworthy, but the book is not simply a reprinting of quotes from various books. It is a deeply considered analysis of what it actually means to look into a mirror. For the serious reader, this book will serve as a trip through your reading past. I was reminded--somewhat nostalgically--of much of the literature that has defined the early part of my adult life. From Nabokov to Salinger to Rilke to Calvino, the book makes its way into just about every corner of American and European literature." - Nancy Smith, YourImpossibleVoice
Not hubris but the ever self-renewing impulse to play calls new worlds into being. NietzscheParents and politicians have always taken play seriously. Its formative powers, its focus, its energy, and its ability to signify other things have drawn the attention of writers from Plato and Schiller to Wittgenstein, Nabokov, and Eco. The ease with which an election becomes perceived as a race, a political crisis as a football game, or an argument as a tennis match readily proves how much play means to contemporary life. Just how play confers meaning, however, is best revealed in literature, where meaning is perpetually at stake. At stake itself, the risk of a gamble, is only one intersection between play and life. "Playtexts" reveals numerous junctures where literary playfulness seemingly so diverting and irrelevant instead opens the most profound questions about creativity, community, value, and belief. How do authors play with their words and readers? Can literature proceed at all unless a reader is willing and able to play?No moralizing monologue, "Playtexts" is all for exuberance and creative surge: Breton s construction of an antinovel, Gombrowicz s struggle with adult formalities, Nabokov s swats at the humorless, Sarrazin s seductive notes, Eco s recasting of spy and detective fiction, Reyes s carnal metaphorics.
Readers of the contemporary novel in France are witnessing the most astonishing reinvigoration of narrative prose since the New Novel of the 1950s. In the last few years, bold, innovative, and richly compelling novels have been written by a variety of young writers. These texts question traditional strategies of character, plot, theme, and message; and they demand new strategies of reading, too. Choosing ten novels published during the 1990s as examples of that trend, Warren Motte traces the resurgence of the novel in France. He argues that each of the novels under consideration here, quite apart from what other stories it tells, presents a?fable?of the novel that deals with the genre's possibilities, limitations, and future as a cultural form.
Small Worlds examines the minimalist trend in French writing, from the early 1980s to the present. Warren Motte first considers the practice of minimalist in other media, such as the plastic arts and music, and then proposes a theoretical model of minimalist literature. Subsequent chapters are devoted to the work of a variety of contemporary French writers and a diversity of literary genres. In his discussion of minimalism, Motte considers smallness and simplicity, a reduction of means (and the resulting amplification of effect), immediacy, directness, clarity, repetition, symmetry, and playfulness. He argues that economy of expression offers writers a way of renovating traditional literary forms and allows them to represent human experience more directly. Motte provides close readings of novels by distinguished contemporary French writers, including Edmond Jabes, Annie Ernaux, Herve Guibert, Marie Redonnet, Jean Echenoz, Olivier Targowla, and Emmanuele Bernheim, demonstrating that however diverse their work may otherwise be, they have all exploited the principle of formal economy in their writing. Warren Motte is a professor of French at the University of Colorado, Boulder. Playtexts: Ludics in Contemporary Literature (Nebraska 1995) is his most recent book.
Fiction Now reports on the current states of the novel in France, taking a series of soundings within the compass of innovative French writing since 2001. Chapters focus closely upon Jean Echenoz, Marie Redonnet, Christian Gailly, Lydie Salvayre, Gérard Gavarry, Hélène Lenoir, Patrick Lapeyre, and Christine Montalbetti. Each of the authors invoked exemplified in his or her work a different set of strategies, concerns, and approaches: one of them transposes the Book of Judith to the Parisian suburbs; another imagines the most taciturn of cowboys in the American West; still another goes well beyond death, into the afterlife of a concert pianist. Despite their diversity of theme and technique, these writers share a will to make French fiction new, and demonstrate compellingly that the novel as it is practiced in France today is an extremely vigorous, deeply enthralling, and richly plural cultural form.
Fiction Now reports on the current states of the novel in France, taking a series of soundings within the compass of innovative French writing since 2001. Chapters focus closely upon Jean Echenoz, Marie Redonnet, Christian Gailly, Lydie Salvayre, Gérard Gavarry, Hélène Lenoir, Patrick Lapeyre, and Christine Montalbetti. Each of the authors invoked exemplified in his or her work a different set of strategies, concerns, and approaches: one of them transposes the Book of Judith to the Parisian suburbs; another imagines the most taciturn of cowboys in the American West; still another goes well beyond death, into the afterlife of a concert pianist. Despite their diversity of theme and technique, these writers share a will to make French fiction new, and demonstrate compellingly that the novel as it is practiced in France today is an extremely vigorous, deeply enthralling, and richly plural cultural form.
Henry I, son of William the Conqueror, ruled from 1100 to 1135, a time of fundamental change in the Anglo-Norman world. This long-awaited biography, written by one of the most distinguished medievalists of his generation, offers a major reassessment of Henry’s character and reign. Challenging the dark and dated portrait of the king as brutal, greedy, and repressive, it argues instead that Henry’s rule was based on reason and order. C. Warren Hollister points out that Henry laid the foundations for judicial and financial institutions usually attributed to his grandson, Henry II. Royal government was centralized and systematized, leading to firm, stable, and peaceful rule for his subjects in both England and Normandy. By mid-reign Henry I was the most powerful king in Western Europe, and with astute diplomacy, an intelligence network, and strategic marriages of his children (legitimate and illegitimate), he was able to undermine the various coalitions mounted against him. Henry strove throughout his reign to solidify the Anglo-Norman dynasty, and his marriage linked the Normans to the Old English line. Hollister vividly describes Henry’s life and reign, places them against the political background of the time, and provides analytical studies of the king and his magnates, the royal administration, and relations between king and church. The resulting volume is one that will be welcomed by students and general readers alike.
This must surely rank as one of the classic historical biographies...it will hold its place not only as a work of reference but as a piece of historical literature."—Observer "W. L. Warren has written a life of the great Angevin whose scholarship and fair-mindedness should make it the classic account for the next fifty years. . . . Dr. Warren's monumental celebration is made to last."—The Times "The result is masterly. . . . it is alive all through, a fine work by a professional historian who can write and has an eye for significant detail, without burying us under it."—Sunday Telegraph
Wordsworth depicted Newton, as Roubiliac may well have done in his statue of him, as voyaging, in ecstasy, through God's sensorium. In the Prelude passage from which the title A Mind For Ever Voyaging is derived, and in various others portraying Newton and science, Wordsworth seems to have written for two audiences, the general public and a much smaller, private audience, while seeking to elevate the minds of both to God. Like Pope before him, Wordsworth achieved "What oft was wrought, but ne'er so well exprest.
Henry II was an enigma to contemporaries, and has excited widely divergent judgements ever since. Dramatic incidents of his reign, such as his quarrel with Archbishop Becket and his troubled relations with his wife, Eleanor of Aquitaine, and his sons, have attracted the attention of historical novelists, playwrights and filmmakers, but with no unanimity of interpretation. That he was a great king there can be no doubt. Yet his motives and intentions are not easy to divine, and it is Professor Warren's contention that concentration on the great crises of the reign can lead to distortion. This book is therefore a comprehensive reappraisal of the reign based, with rare understanding, on contemporary sources; it provides a coherent and persuasive revaluation of the man and the king, and is, in itself, an eloquent and impressive achievement.
Small Worlds examines the minimalist trend in French writing, from the early 1980s to the present. Warren Motte first considers the practice of minimalist in other media, such as the plastic arts and music, and then proposes a theoretical model of minimalist literature. Subsequent chapters are devoted to the work of a variety of contemporary French writers and a diversity of literary genres. In his discussion of minimalism, Motte considers smallness and simplicity, a reduction of means (and the resulting amplification of effect), immediacy, directness, clarity, repetition, symmetry, and playfulness. He argues that economy of expression offers writers a way of renovating traditional literary forms and allows them to represent human experience more directly. Motte provides close readings of novels by distinguished contemporary French writers, including Edmond Jabes, Annie Ernaux, Herve Guibert, Marie Redonnet, Jean Echenoz, Olivier Targowla, and Emmanuele Bernheim, demonstrating that however diverse their work may otherwise be, they have all exploited the principle of formal economy in their writing. Warren Motte is a professor of French at the University of Colorado, Boulder. Playtexts: Ludics in Contemporary Literature (Nebraska 1995) is his most recent book.
In the late 19th century, rails from Bethlehem Steel helped build the United States into the world's foremost economy. During the 1890s, Bethlehem became America's leading supplier of heavy armaments, and by 1914, it had pioneered new methods of structural steel manufacture that transformed urban skylines. Demand for its war materials during World War I provided the finance for Bethlehem to become the world's second-largest steel maker. As late as 1974, the company achieved record earnings of $342 million. But in the 1980s and 1990s, through wildly fluctuating times, losses outweighed gains, and Bethlehem struggled to downsize and reinvest in newer technologies. By 2001, in financial collapse, it reluctantly filed for Chapter 11 bankruptcy protection. Two years later, International Steel Group acquired the company for $1.5 billion.In Bethlehem Steel, Kenneth Warren presents an original and compelling history of a leading American company, examining the numerous factors contributing to the growth of this titan and those that eventually felled it—along with many of its competitors in the U.S. steel industry.Warren considers the investment failures, indecision and slowness to abandon or restructure outdated "integrated" plants plaguing what had become an insular, inward-looking management group. Meanwhile competition increased from more economical "mini mills" at home and from new, technologically superior plants overseas, which drove world prices down, causing huge flows of imported steel into the United States.Bethlehem Steel provides a fascinating case study in the transformation of a major industry from one of American dominance to one where America struggled to survive.
Reprint of the original, first published in 1859. 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 story of Faustian bargains happened in Paris in the 1950s. Using any means necessary to get to the top with her talent, Kathleen Ingersoll reached the far edge of possibility as a classical pianist. With the higher music establishment in the background, her story is neither about music nor about Paris. It is about a woman and the cost of extreme ambition, about love and other dangers, and about time and the river. Events on streets and in neighborhoods that were never in Paris are in this book the same way that Poes murders happened in the Rue Morgue. Persons who existed in the pastfor example, Josephine Bakerare images in a distorted mirror. The world in this book and the one we call real happen inches apart. Whether Kathleen Ingersolls bargains with an imaginary or true devil could actually have happened somewhere, sometime, the author leaves to his many coauthors, the readers. They necessarily will see the story as different from what the author saw in telling it.
A journey into Albany’s historic past and the city’s role in three pivotal historical narratives: the American Revolution, the French Revolution, and the construction of the Erie Canal.
In the Dutch countryside the war seems far away. For most people, at least. But not for Ed, a Jew in Nazi-occupied Holland trying to find some safe sanctuary. Compelled to go into hiding in the rural province of Zeeland, he is taken in by a seemingly benevolent family of farmers. But, as Ed comes to realize, the Van 't Westeindes are not what they seem. Camiel, the son of the house, is still in mourning for his best friend, a German soldier who committed suicide the year before. And Camiel's fiery, unstable sister Mariete begins to nurse a growing unrequited passion for their young guest, just as Ed realizes his own attraction to Camiel. As time goes by, Ed is drawn into the domestic intrigues around him, and the farmhouse that had begun as his refuge slowly becomes his prison.
In 1835 the map of the Arctic coast of North America was still far from complete, with unmapped gaps of 280km from Return Reef to Point Barrow in Alaska and 550km from Point Turnagain to Boothia Peninsula in the Central Canadian Arctic. The Hudson's Bay Company developed a plan to fill the gaps and two of the Company's officers were chosen to carry it out: the veteran Chief Factor Peter Dease – efficient, competent, steady, and with an excellent rapport with Indians and the "servants," mostly Métis – and Thomas Simpson, young, energetic, ambitious, arrogant, and cousin and secretary to George Simpson, the Company's governor in North America. Over a three-year period from 1837 to 1939, operating from a base-camp at Fort Confidence on Great Bear Lake, the expedition achieved its goal. Despite serious problems with sea ice, Dease and Simpson, in some of the longest small-boat voyages in the history of the Arctic, mapped the remaining gaps in a model operation of efficient, economical, and safe exploration. Thomas Simpson's narrative, the standard source on the expedition, claimed the expedition's success for himself, stating "Dease is a worthy, indolent, illiterate soul, and moves just as I give the impulse." In From Barrow to Boothia William Barr shows that Dease's contribution was absolutely crucial to the expedition's success and makes Dease's sober, sensible, and modest account of the expedition available. Dease's journal, reproduced in full, is supplemented by a brief introduction to each section and detailed annotations that clarify and elaborate the text. By including relevant correspondence to and from expedition members, Barr captures the original words of the participants, offering insights into the character of both Dease and Simpson and making clear what really happened on this successful expedition.
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