This book is Stanley Cavell’s definitive expression on Emerson. Over the past thirty years, Cavell has demonstrated that he is the most emphatic and provocative philosophical critic of Emerson that America has yet known. The sustained effort of that labor is drawn together here for the first time into a single volume, which also contains two previously unpublished essays and an introduction by Cavell that reflects on this book and the history of its emergence. Students and scholars working in philosophy, literature, American studies, history, film studies, and political theory can now more easily access Cavell’s luminous and enduring work on Emerson. Such engagement should be further complemented by extensive indices and annotations. If we are still in doubt whether America has expressed itself philosophically, there is perhaps no better space for inquiry than reading Cavell reading Emerson.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Dirty Linen concerns the investigation of a Select Committee into the moral standards of the House of Commons - a somewhat unconventional investigation, rendered not less so by the presence of an ultra-sexy secretary whose clothes have a trick of whisking off in the hands of various members. New-Found-Land is a duologue between two Home Office officials, with a tour-de-force speech on America by one of them.2 women, 8 men

"A tragicomic journey across America as one man attempts to create a fast food empire, and a legacy to leave behind. From the prolific and peerless Stanley Elkin, The Franchiser follows Ben Flesh-one of the men "who made America look like America, who made America famous." He collects franchises, traveling from state to state, acquiring the brand-name establishments that shape the American landscape. But both the nation and Ben are running out of energy. As blackouts roll through the West, Ben struggles with the onset of multiple sclerosis, and the growing realization that his lifetime quest to buy a name for himself has ultimately failed"--

Doomed by a thousand-year-old curse to serve important personages throughout the centuries, George Mills loves and follows various lieges, from a stableboy ancestor in the First Crusade to a modern-day furniture mover. Reprint.

A pious Jewish father in nineteenth-century Eastern Europe sets out on a journey to beg dowries for his three daughters

In 1935, while Virginia Woolf was alive and building her career as a woman writer, Ruth Gruber published a seminal essay on the novelist that is now seen as the first feminist interpretation of Woolf's writings and life. Seventy years after its original publication, Gruber's seminal critique is available once again, with new material that makes it more relevant for readers today. Virginia Woolf: The Will to Create as a Woman includes several previously unpublished letters exchanged between Woolf and Gruber, and a new introduction in which Gruber recalls her 1933 meeting with the English writer, examining the questions surrounding Woolf's bi-polar illness and anti-Semitism. In this groundbreaking assessment of Woolf's philosophy, influences, and style, Gruber laid the groundwork for a generation of future feminist analyses. She cogently examines Woolf's concept of gender and her literary influences, adeptly discussing how Woolf constructed a feminine writing style in a realm dominated by men. Above all, she shows how Woolf consciously strove to create as a woman. Virginia Woolf's experimental prose and her struggles with mental illness have made her an enduringly provocative figure, and today, more than sixty years after her suicide, Woolf's writing continues to fascinate and inspire readers.

'This is it... this is my destiny woman,' Max blurted out when he first met Lola Blessington at the Coliseum shop. Not only was Lola aristocratic and wild at heart, but the two had discovered an uncanny convergence of musical tastes. Soon they were converging at every level- Lola filling Max's emptiness and vice versa. But Max had also always craved the recognition of another sort of woman, the sort who had been homecoming queen at her highschool- just as tempting as Lula Mae Flowers had been in Texas. Why did Max have to meet Lula Mae just when he'd found his destiny woman in Lola? And what everyone wanted to know was this- if Lola embodied everything Max longed for, how could there be anything left over for Texan ex-homecoming queens?

Literary criticism that ranges from Shakespeare to Salinger.

Text: English, French (translation)

The title is the question father asks himself when he learns his son has hand cuffed himself to the dean to protest censorship and as a consequence been expelled. And when the son appears with a scroungy group of mods beards and a girl from out of nowhere the impact to a parent can be overwhelming. Father reasons that if you can't beat them join them; and accordingly gets his own beads guitar and such and goes the kids one better. He burns his checkbook in front of the bank and threatens to ignite himself on the steps of Lincoln Center. It's enough to make even the younger generation realize a thing or two.

The haunting story of a woman who desires “something more, as if something more had been promised her that was not yet given.” Vivian Carpentier, confined by her role as an upper class woman in the 1940s, gleans meaning only from erotic love. Troubled by the elusiveness of men, yet convinced that they run the world, she can barely conceal her desperation to entice. Struggling with motherhood and the failure of marriage, she takes jobs to bridge intervals between lovers. She sings in a hotel bar, sells dresses, and nurses her father’s friend through his last illness, hoping to atone for a self-centered life. The constant in Vivian’s life is her son, David. Having seen her worst and best moments, he provides her with consolation and a reason for living.

Collection of stories Bio Edna Ferber (August 15, 1885 - April 16, 1968) was an American novelist, short story writer and playwright. Her novels include the Pulitzer Prize-winning So Big (1924), Show Boat (1926; made into the celebrated 1927 musical), Cimarron (1930; adapted into the 1931 film which won the Academy Award for Best Picture), Giant (1952; made into the 1956 film of the same name) and Ice Palace (1958), which also received a film adaptation in 1960. Ferber's novels generally featured strong female protagonists, along with a rich and diverse collection of supporting characters. She usually highlighted at least one strong secondary character who faced discrimination, ethnic or otherwise. Ferber's works often concerned small subsets of American culture, and sometimes took place in exotic locations she had visited but was not intimately familiar with, such as Texas or Alaska. She thus helped to highlight the diversity of American culture to those who did not have the opportunity to experience it. Some novels are set in places she had not visited. (wikipedia.org)

Humor, Comedy, Graphic Novel

What is meant by attributing texts to Moses in Hebrew Bible and Second Temple Judaism? The answer depends not only on the history of texts but also on the history of concepts of textuality. This book criticizes the terms "Pseudepigraphy" and "Rewritten Bible", which presuppose conceptions of authentic attribution and textual fidelity foreign to ancient Judaism. Instead, this book develops the concept of a discourse whose creativity and authority depend on repeated returns to the exemplary figure and experience of a founder. Attribution to Moses is a central example, whose function is to re-present the experience of revelation at Sinai. Distinctive features of Mosaic discourse are studied in Deuteronomy, Jubilees, the Temple Scroll, and the works of Philo of Alexandria.

Based on two extant Jewish sources describing the pogroms in the Rhineland in 1096, the Mainz Anonymous and the Solomon bar Simson Chronicle, narrates the history of the massacre of Jews by the Crusaders and by burghers who joined them, in Mainz, Worms, Köln, and Speyer. The Pope, who conceived the Crusade, did not call for the massacre of Jews, nor did the secular authorities approve of it; it was Count Emicho's army that unleashed the murders. Clergymen and imperial officials, as well as some burghers, tried to protect the Jews, not always successfully. The revulsion toward Christianity, the readiness for martyrdom evinced by the Rhineland Jews, the mass suicides, and even the murder of their families by Jews themselves only incited the Crusaders to greater excesses. Despite the brutality of the massacres of 1096, the bulk of Ashkenazic Jewry survived them unharmed. Although later Jewish literature sometimes praised the Jews' behavior during the First Crusade, this pattern was not repeated in other disasters which befell European Jewry.

First published in 1979, in Ways to Paradise Michael Loewe, an internationally recognised authority on Han China, assesses a wealth of an archaeological evidence in an attempt to uncover the attitudes of the pre-Buddhist Chinese to matters relating to death and hereafter. Dr Loewe examines in particular three major subjects of Han art and a recently found silk painting from Central China dating from around 168 BC; the numerous bronze mirrors of the so-called TLV pattern that came into fashion at the beginning of the Christian era, and which are especially rich in cosmological symbolism; and the representations of the Queen Mother of the West which appear as a leading motif of Chinese art from perhaps a century later. These Dr Loewe sets within a framework of contemporary literature and historical incident to create a wonderfully vivid picture of religious life and thought in this early and fascinating period of Chinese history which was to contribute so much to later developments in Far Eastern Philosophy, religion and art.

"In this capstone book, fairy tale expert Jack Zipes has assembled what he describes as his last theoretical and critical study of fairy tales. His purpose is to create a coherent collection that pays tribute to a group of writers that he views as "survivors with a mission" whose tales inspire readers to this day. The book begins with a substantial introduction in which Zipes discusses the history of his interest in fairy tales and the motivation for his scholarship in the field. In a world filled with conflict, he writes, "fairy tales can be used for enlightenment by all of us or abused by small groups of powerful people who seek domination." The main text includes thirteen essays on notable authors of fairy tales-Édouard Laboulaye, Kurt Schwitters, Béla Bálazs, Christian Bärmann, Charles Godfrey Leland, Mariette Lydis, Ernst Bloch, Paul Vaillant-Couturier, Hermynia zur Mühlen, Lisa Teztner, Felix Salten, Emery Kelen, and Gianni Rodari-many of whom lived through revolutions and world wars or were otherwise compelled to confront political oppression during their lives. Zipes considers their cultural significance and their contributions to fairy tale literature, arguing that each deserves greater attention and appreciation. Some of the chapters have been adapted from previously published introductions Zipes wrote for the Oddly Modern Fairy Tales series, which he edits, and others are adapted from scholarly volumes that Zipes has published over his long career as a self-identified "scholarly scavenger" of largely forgotten tales. Together, they create a portrait of the political stakes that have animated Zipes's lifelong fascination with the fairy tale, and explain why readers and writers alike continue to return to this narrative form"--