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Books > Language & Literature > Literature: texts > General
Explores the tension between the abstract intellect and material
bodies in May Sinclair's writing May Sinclair was a bestselling
author of her day whose versatile literary output, including
criticism, philosophy, poetry, psychoanalysis and experimental
fiction, now frequently falls between the established categories of
literary modernism. In terms of her contribution to dominant
modernist paradigms she was, until recently, best remembered for
recasting the psychological novel as 'stream of consciousness'
narrative in a 1918 review of Dorothy Richardson's Pilgrimage. This
book brings together the most recent research on Sinclair and
re-contextualises her work both within and against dominant
Modernist narratives. It explores Sinclair's negotiations between
the public and private, the cerebral and the corporeal and the
spiritual and the profane in both her fiction and non-fiction. Key
Features Brings together the most recent research undertaken by
foremost Sinclair scholars and early-career researchers Considers
Sinclair's contribution to contemporary aesthetic and philosophical
debates about the nature and representation of human identity
Explores a wide range of Sinclair's work, including fiction,
psychology, philosophy and short stories
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Start Me Up
(Paperback)
Jeannie Edmunds
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R529
R437
Discovery Miles 4 370
Save R92 (17%)
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Ships in 10 - 15 working days
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The Christmas Elephant
(Paperback)
Rezwana Derbyshire; As told by Doug Derbyshire; Illustrated by Jerry McCollough
bundle available
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R478
Discovery Miles 4 780
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Ships in 10 - 15 working days
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The story of Jewish literature is a kaleidoscopic one, multilingual
and transnational in character, spanning the globe as well as the
centuries. In this broad, thought-provoking introduction to Jewish
literature from 1492 to the present, cultural historian Ilan
Stavans focuses on its multilingual and transnational nature.
Stavans presents a wide range of traditions within Jewish
literature and the variety of writers who made those traditions
possible. Represented are writers as dissimilar as Luis de Carvajal
the Younger, Franz Kafka, Bruno Schulz, Isaac Babel, Anzia
Yezierska, Elias Canetti, Isaac Bashevis Singer, Irving Howe,
Clarice Lispector, Susan Sontag, Philip Roth, Grace Paley, Amos Oz,
Moacyr Scliar, and David Grossman. The story of Jewish literature
spans the globe as well as the centuries, from the marrano poets
and memorialists of medieval Spain, to the sprawling Yiddish
writing in Ashkenaz (the "Pale of Settlement' in Eastern Europe),
to the probing narratives of Jewish immigrants to the United States
and other parts of the New World. It also examines the accounts of
horror during the Holocaust, the work of Israeli authors since the
creation of the Jewish State in 1948, and the "ingathering" of
Jewish works in Brazil, Bulgaria, Argentina, and South Africa at
the end of the twentieth century. This kaleidoscopic introduction
to Jewish literature presents its subject matter as constantly
changing and adapting.
Theatre in Dublin,1745-1820: A Calendar of Performances is the
first comprehensive, daily compendium of more than 18,000
performances that took place in Dublin's many professional
theatres, music halls, pleasure gardens, and circus amphitheatres
between Thomas Sheridan's becoming the manager at Smock Alley
Theatre in 1745 and the dissolution of the Crow Street Theatre in
1820. The daily performance calendar for each of the seventy-five
seasons recorded here records and organizes all surviving
documentary evidence pertinent to each evening's entertainments,
derived from all known sources, but especially from playbills and
newspaper advertisements. Each theatre's daily entry includes all
preludes, mainpieces, interludes, and afterpieces with casts and
assigned roles, followed by singing and singers, dancing and
dancers, and specialty entertainments. Financial data, program
changes, rehearsal notices, authorship and premiere information are
included in each component's entry, as is the text of contemporary
correspondence and editorial contextualization and commentary,
followed by other additional commentary, such as the many hundreds
of printed puffs, notices, and performance reviews. In the cases of
the programs of music halls, pleasure gardens, and circuses, the
playbills have generally been transcribed verbatim. The calendar
for each season is preceded by an analytical headnote that presents
several categories of information including, among other things, an
alphabetical listing of all members of each company, whether
actors, musicians, specialty artists, or house servants, who are
known to have been employed at each venue. Limited biographical
commentary is included, particularly about performers of Irish
origin, who had significant stage careers but who did not perform
in London. Each headnote presents the seasons's offerings of
entertainments of each theatrical type (prelude, mainpiece,
interlude, afterpiece) analyzed according to genre, including a
list of the number of plays in each genre and according to period
in which they were first performed. The headnote also notes the
number of different plays by Shakespeare staged during each season
and gives particular attention to entertainments of "special Irish
interest." The various kinds of benefit performance and command
performances are also noted. Finally, this Calendar of Performances
contains an appendix that furnishes a season-by-season listing of
the plays that were new to the London patent theatres, and, later,
of the important "minors." This information is provided in order
for us to understand the interrelatedness of the London and Dublin
repertories.
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Discovery Miles 1 100
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