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A vital, engaging, and hugely enjoyable guide to poetry, from ancient times to the present, by one of our greatest champions of literature What is poetry? If music is sound organized in a particular way, poetry is a way of organizing language. It is language made special so that it will be remembered and valued. It does not always work—over the centuries countless thousands of poems have been forgotten. This little history is about some that have not. John Carey tells the stories behind the world’s greatest poems, from the oldest surviving one written nearly four thousand years ago to those being written today. Carey looks at poets whose works shape our views of the world, such as Dante, Chaucer, Shakespeare, Whitman, and Yeats. He also looks at more recent poets, like Derek Walcott, Marianne Moore, and Maya Angelou, who have started to question what makes a poem "great" in the first place. This little history shines a light on the richness and variation of the world’s poems—and the elusive quality that makes them all the more enticing.
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In this highly accessible introduction, Brian Nelson provides an overview of French literature - its themes and forms, traditions and transformations - from the Middle Ages to the present. Major writers, including Francophone authors writing from areas other than France, are discussed chronologically in the context of their times, to provide a sense of the development of the French literary tradition and the strengths of some of the most influential writers within it. Nelson offers close readings of exemplary passages from key works, presented in English translation and with the original French. The exploration of the work of important writers, including Villon, Racine, Molière, Voltaire, Balzac, Flaubert, Zola, Proust, Sartre and Beckett, highlights the richness and diversity of French literature.
French literature --- History and criticism --- History and criticism.
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The Cambridge Critical Guide to Latin Literature offers a critical overview of work on Latin literature. Where are we? How did we get here? Where to next? Fifteen commissioned chapters, along with an extensive introduction and Mary Beard's postscript, approach these questions from a range of angles. They aim not to codify the field, but to give snapshots of the discipline from different perspectives, and to offer provocations for future development. The Critical Guide aims to stimulate reflection on how we engage with Latin literature. Texts, tools and territories are the three areas of focus. The Guide situates the study of classical Latin literature within its global context from late antiquity to Neo-Latin, moving away from an exclusive focus on the pre-200 CE corpus. It recalibrates links with adjoining disciplines (history, philosophy, material culture, linguistics, political thought, Greek), and takes a fresh look at key tools (editing, reception, intertextuality, theory).
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The seventeenth century was a period of profound change in the history of music. In this volume Lorenzo Bianconi considers the radical developments of the century as long-lived musical traditions died out and others were created in response to new social functions. This period saw, for example, the flowering of the polyphonic madrigal and its subsequent decline in favour of a new concertato style, the rise of the basso continuo and the growth of purely instrumental composition. Most importantly it saw the rapid rise and persistent growth of a new genre of immeasurable significance: opera. In examining the plurality of coexistent musical styles Lorenzo Bianconi also discusses the socio-historical and cultural aspects of seventeenth-century music history: the opening out towards rational modes of scientific enquiry and theoretical speculation; the social position of the musician in the age of the first theatrical and musical entrepreneurs; the decline of Italian music publishing and the spread of the market to northern Europe. In considering these problems Lorenzo Bianconi presents a fresh picture of musical life in the seventeenth century, taking, like other books from the Italian series Storia della Musica, a broadly contextual approach.
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The battles fought in the name of the 'war on terror' have re-ignited questions about the changing nature of war, and the experience of war for those geographically distant from its real world consequences. What is missing from our highly mediated experience of war? What are the intentional and unintentional processes of erasure through which the distortion happens? What are their consequences?
Cinema is a key site at which questions about our highly mediated experience of war can be addressed or, more significantly, elided. Looking at a range of films that have provoked debate, from award-winning features like 'Zero Dark Thirty and American Sniper', to documentaries like 'Kill List and Dirty Wars', as well as at the work of visual artists like Harun Farocki and Omer Fast, this book examines the practices of erasure in the cinematic representation of recent military interventions. Drawing on representations of war-related death, dying and bodily damage, this provocative collection addresses 'what's missing' in existing scholarly responses to modern warfare; in film studies, as well as in politics and international relations.
WAR FILMS--HISTORY AND CRITICISM --- Film --- War films --- Motion pictures and war. --- History and criticism. --- War films History and criticism --- History and criticism
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Examines the influence of film noir on visual narrative and technique in global cinematic traditions.Following World War II, film noir became the dominant cinematic expression of Cold War angst, influencing new trends in European and Asian filmmaking. International Noir examines film noir's influence on the cinematic traditions of Britain, France, Scandinavia, Japan, Hong Kong, Korea, and India. This book suggests that the film noir style continues to appeal on such a global scale because no other cinematic form has merged style and genre to effect a vision of the disturbing consequences of modernity. International noir has, however, adapted and adopted noir themes and aesthetic elements so that national cinemas can boast an independent and indigenous expression of the genre. Ranging from Japanese silent films and women's films to French, Hong Kong, and Nordic New Waves, this book also calls into question critical assessments of noir in international cinemas. In short, it challenges prevailing film scholarship to renegotiate the concept of noir. Ending with an examination of Hollywood's neo-noir recontextualization of the genre, and post-noir's reinvigorating critique of this aesthetic, International Noir offers Film Studies scholars an in-depth commentary on this influential global cinematic art form, further offering extensive bibliography and filmographies for recommended reading and viewing. Key Features * Examines noir's influence on film narrative and technique in several different national cinemas *Covers British, French and Japanese noir as well as the influence of noir on Scandivavian, Chinese and Korean cinema *Includes chapters on neo-noir and post-noir films
Film noir --- History and criticism. --- Film
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"This volume presents the major works of classical rabbinic Judaism as inter-related aggregates analyzed through three central themes. Part 1, "Intertextuality," investigates the multi-directional relationships among and between rabbinic texts and nonrabbinic Jewish sources. Part 2, "East and West" explores the impact on rabbinic texts of the cultures of the Hellenistic, Roman, and Christian West and the Sasanian East. Part 3, "Halakha and Aggada," interrogates the relationship of law and narrative in rabbinic sources. This bold volume uncovers alliances and ruptures -- textual, cultural, and generic -- obscured by document-based approaches to rabbinic literature"--
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