"Frieden draws heavily on works of intellectual history to survey the concepts of daimon and genius in ancient religious and mythological thought. He then outlines the complex transformation in the 18th century that leaves genius midway between a transcendental and a psychological agency. This line age serves to orient four analyses of literary monologue (in Shakespeare, Coleridge, Poe, and Joyce). The issue highlighted by Frieden has come to the forefront through certain writings of Husserl, Heidegger, and Derrida: namely, the determination of the individual subject in terms of the expressive spontaneity of an inner voice. This book has the merit of combining a philosophical and a formalist approach in exploring a topic of high priority in current theoretical discussions." - Library Journal

fiction

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1902 Excerpt: ...ms. Flor. 218, nicht bei Wet., Hm. und Le, s. HB. IX, 93) bedarf noch der Untersuchung.--2) Er betrachtet die geminata und Verba, deren 1. Bad. = 3. als 2 buchet. V, Derenb. zu n. 1 р. УП, IX.--) Ewald, Beitr. 126/7; s. Isak Gikatilia u. leak b. Saul, unten Anm. 6.--Jona dehnt die Anwendung der arab. Grammatik über den Bedarf der hebr. hinaus, daher ohne Erfolg.--4) Unter Mitwirkung Bach er's, dessen Namen statutenmässig nicht auf dem Titel erscheinen durfte, p. XII.--s) Die Zahlangabe nrtav T'a rührt von Tibbon her (CB. 1417). Derenb. hat den Text, worin er Umarbeitungen vermutet, in 46 K. geteilt, K. 2 = 2, 8 hebr.--) Alphab. Verzeichnis in Bachers Ausg. der Übstz. S. 5f3.--Zur Anführung arab. Gedichte in seinen Schriften s. Schreiner, Mtschr. 1886 S. 270: das grosse Istikak von ibn Djinni.--') Der Zeit nach jünger sind 4, 6; Bacher in W. u. W. II, 173.--8) Ebenso wird hebr. туя in verschied. Sinne gebraucht, auch für Note üherhaupt.--) VA. Bd. 86 S. 86; Os. II, 60, Lc. I, 664 (Suweidi II, 199): „hebr. Jouna"; für Behrnauer lies Neubauer (Notice).--„Werke" bei Bacher, W. u. W. 170, ist unbegründet, desgl.: „sans importance" bei Derenb., Opp. LXXV, wo bemerkt wird, dass Jona diese Schrift nicht citire. Mit Becht weist Der. die Annahme einer Schrift über Logik und gegen die Anfangslosigkeit der Materie als nicht genügend begründet zurück. Quellen: CB. 1416 und HÜb. 917 u. XXXIII; Hauptvertreter sind Lebrecht, Mk., Bacher (Ab. schrieb seine Werke mit hebr. Buchst. ZDMG. 1888 S. 306 und Winter u. W. II, 170), Derenbourg; einen Nachtrag zu Bacher über J.'s Sprachvergleich, v. S. Eppenstein, Rev. Et. XLI, 237. 82. ...

What is meant by "romantic irony"? What is specifically romantic about this kind of irony? How does it relate to--and differ from--ordinary, traditional irony? Is it a variant of traditional irony, or an independent phenomenon? Are its lines of demarcation primarily historical or modal? How does it become manifest in a text? What is its impact on the art of narration? These are the questions that Fictions of Romantic Irony addresses. It makes a new approach to romantic irony by envisaging it in a broad European context in relation both to earlier concepts of irony and to traditional uses of irony in narration. Fictions of Romantic Irony shows how irony was transformed in the hands of Friedrich Schlegel, Hegel and Kierkegaard. Through an analysis of six major European narratives of the mid-eighteenth to the mid-nineteenth century it illustrates the reciprocal interplay of theory and practice, and the complex and central role that irony assumes as a shaping aesthetic factor. Using a wide perspective and an original synchronic disposition of texts within its historical framework, it identifies the distinctive philosophical and literary features of romantic irony. Fictions of Romantic Irony presents an important theory of romantic irony, distinguishing it from traditional irony in the handling of fictional illusion and in the dynamics of the tripartite relationship between narrator, narrative and reader. It dispels many common, limiting fictions about romantic irony, and offers a robust understanding of its workings in narrative and its significance for modern fiction.

In 1967 the world of Milton studies was divided into two armed camps: one proclaiming (in the tradition of Blake and Shelley) that Milton was of the devil's party with or without knowing it, the other proclaiming (in the tradition of Addison and C. S. Lewis) that the poet's sympathies are obviously with God and the angels loyal to him. The achievement of Stanley Fish's Surprised by Sin was to reconcile the two camps by subsuming their claims in a single overarching thesis: Paradise Lost is a poem about how its readers came to be the way they are--that is, fallen--and the poem's lesson is proven on a reader's impulse every time he or she finds a devilish action attractive or a godly action dismaying. Fish's argument reshaped the face of Milton studies; thirty years later the issues raised in Surprised by Sin continue to set the agenda and drive debate.

This book is a biography that profiles some of the key figures of the sixteenth century who played an important role in shaping England's history. The book provides a detailed insight into their character and the role they played in the events of their times. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Catalogue of the Hebrew Manuscripts in the Bodleian Library and in the College Libraries of Oxford is a comprehensive reference book written by Adolf Neubauer. The book provides a detailed and systematic catalogue of all the Hebrew manuscripts that are held in the Bodleian Library and the College Libraries of Oxford. The author has meticulously researched and documented each manuscript, providing a brief historical background and detailed descriptions of their contents, including the language, script, and binding. The book is an invaluable resource for scholars and researchers interested in the study of Hebrew manuscripts, Jewish history, and culture. It is an essential reference work for anyone studying or researching the rich cultural heritage of the Jewish people.1886. Including MSS. in other languages, which are written with Hebrew characters, or relating to the Hebrew language or literature; and a few Samaritan MSS. With forty facsimiles. Partial Contents: Works Quoted; Concordances of the Old and New Numbers; Biblical MSS; Translation of the Bible; Midrash and its Commentaries; Commentaries and Super-Commentaries; Thalmud, Halakhah; Thalmud, Agadah; Liturgies and their Commentaries; Theology, Philosophy and Ethics; Masorah, Grammar and Lexicography; Kabbalah; Poetry and Rhymed Prose; Mathematics, Astronomy, Astrology, Magic and Cosmography; Medicine; Miscellaneous; Additional MSS and Omissions; College MSS; MSS written in Roman Characters in Connection with Hebrew Literature; Latest Acquisitions; and Additional Samaritan MSS. See other titles by this author available from Kessinger Publishing.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. 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 their original work.

How the negotiation between poetic and media discourses takes place is the subject of Marjorie Perloff's groundbreaking study. Radical Artifice considers what happens when the "natural speech" model inherited from the great Modernist poets comes up against the "natural speech" of the Donahue "talk show," or again, how visual poetics and verse forms are responding to the languages of billboards and sound bytes. Among the many poets whose works are discussed are John Ashbery, George Oppen, Susan Howe, Clark Coolidge, Lyn Hejinian, Leslie Scalapino, Charles Bernstein, Johanna Drucker, and Steve McCaffery. But the strongest presence in Perloff's book is John Cage, a "poet" better known as a composer, a philosopher, a printmaker, and one who understood, almost half a century ago, that from now on no word, musical note, painted surface, or theoretical statement could ever again escape "contamination" from the media landscape in which we live. It is under his sign that Radical Artifice was composed.

Praise for Harold Norse's WILLIAM CARLOS "I believe in your intellectual honesty and in what you are doing with the American idiom of which you are an intrinsic genius." CHARLES "He can't write a bad line. I've never seen one. . . . He is one of the great ones of our rather strange times." JAMES If light ever enters the hearts of men, Harold Norse will be one of the writers who will have helped to set it there." ALLEN "I was kept amazed by your sense of reality, by your awareness of the thing in these poems."

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

1950. Article at pp. 21-34 in single issue of Furioso. Additional articles in same issue as well. Octavo, original printed wraps. VG plus.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This volume contains the lectures delivered at an international conference in Israel devoted to the topic of Franz Kafka (1883-1924) and Zionism. Kafka's interests in Hebrew, Yiddish, and Jewish Nationalism and his various relationships to his Zionist friends and his participation in Jewish national and Zionist-related activity are explored from a number of different critical vantage points. Likewise, his writings are considered within the specific framework of Jewish nationalism and Zionism.

The literature on Nathanael West by this time is larger, no doubt, than his entire output—less than 450pages in the one-volume complete edition. Yet West’s four short novels, all written in the 1930s and surrounded by his reputation as a Hollywood script writer, continue to fascinate readers, who still look for sign and symbol of the books’ importance. Irving Malin, a frequent contributor to this series, has taken a new approach to West’s novels. Rather than an examination of sources, his new book provides, for the first time, a chronological, chapter-by-chapter examination of the novels. This detailed textual explication shows the novels’ designs, which create their powerful effects by the accumulation of significant recurring details.

Professor Levy explores the ritual origins of Japanese verse, the impact of Chinese and Korean literary influence on the seventh-century Court, and the rhetorical deification of the imperial family as the condition under which Hitomaro would begin his career as a Court poet. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1904 Excerpt: ...questions in a hushed mystical voice, and as the colonel was rather silent and somewhat short in his replies, though ever expressed in a voice of sensibility and with refined deference of manner, Mrs. Neuchatel opened her own peculiar views on a variety of subjects of august interest, such as education, high art, the influence of women in society, the formation of character, and the distribution of wealth, on all of which this highly gifted lady was always in the habit of informing her audience, by way of accompaniment, that she was conscious that the views she entertained were peculiar. The views of Mrs. Neuchatel were peculiar, and therefore not always, or even easily, comprehended. That indeed she felt was rather her fate in life, but a superior intelligence like hers has a degree of sublimated self-respect which defies destiny. When she was alone with the ladies, the bulletin of Mrs. Neuchatel was not so copious as had been expected. She announced that Colonel Albert was sentimental, and she suspected a poet. But for the rest she had discovered nothing, not even his nationality. She had tried him both in French and German, but he persisted in talking English, although he spoke of himself as a foreigner. After dinner he conversed chiefly with the men, particularly with the Governor of the Bank, who seemed to interest him much, and a director of one of the dock companies, who offered to show him over their establishment, an offer which Colonel Albert eagerly accepted. Then, as if he remembered that homage was due at such a moment to the fairer sex, he went and seated himself by Adriana, and was playful and agreeable, though when she was cross-examined afterwards by her friends as to the character of his conversation, she really could not recall anything p...

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Les Discours Du Docteur O'Grady André Maurois B. Grasset, 1922 History; Military; World War I; Fiction / Literary; History / Military / World War I; Literary Criticism / European / French

Poetry. "Maxine Chernoff's THE TURNING turns at the moment 'when we survive our disappearances,' 'when murder chastises history,' in other words, right now - when all that's left is the leveled playing field of the page, where graffiti scrawled on a wall is just as likely to carry import as Kristeva or Emerson or 'memory or Memorex.' In stanzas taut as guitar strings - or purse strings pulled tight against the chest - these poems recall a kind of classic Ahkmatovan cry (though they never plangent) combined with a Tsvetaeva-like pluckiness, all of which gets overridden by Chernoff's supreme humanity, ferocity, intelligence, wit, honesty: 'I had thought I knew how the world would end, but all I really know is how to stare and point.' Then the book takes yet another turn, beyond the staring and pointing" - Gillian Conoley.