Virgil's great epic transforms the Homeric tradition into a triumphal statement of the Roman civilizing mission. Translated by Robert Fitzgerald.

Volume VI of the nine-volume Loeb edition of Early Greek Philosophy includes the later Ionian and Athenian thinkers Anaxagoras, Archelaus, and Diogenes of Apollonia, along with chapters on early Greek medicine and the Derveni Papyrus.

A children's classic comes to life in an enchanting dramatization narrated by Alan Bennett.   Enter the world of the great river and meet the marvelous riverbank animals: the poetic Rat, his friend Mole, and the boastful Toad, as they voyage down the river and into the Wild Wood to great adventures!  This
exclusive BBC production features a full cast, authentic sound effects and sweeping music to warm hearts young and old.  

This Element analyses the relationship between gender and literary letterpress printing from the early 20th century to the beginning of the 21st. Drawing on examples from modernist writer/printers of the 1920s to literary book artists of the early 21st, it offers a way of thinking about the feminist historiography of printing as we confront the presence and particular character of letterpress in a digital age. This Element is divided into four sections: the first, 'Historicizing' traces the critical histories of women and print through to the twentieth and twenty-first centuries. The second section, 'Learning,' offers an analysis of some of the modes of discourse and training through which women and gender minorities have learned the craft of printing. The third section, 'Individualizing' offers brief biographical vignettes. The fourth section, 'Writing,' focuses on printers' own written reflections about letterpress. This title is also available as Open Access on Cambridge Core.

A Word a Day contains 365 carefully selected words that will enhance and expand your vocabulary, along with their meanings, origins and sample usage and fascinating word-related facts and trivia.

It is estimated that on average an English-speaking adult has acquired a functioning vocabulary of 25,000 words by the time they reach middle age. That sounds like a lot - and more than enough for the daily purposes of communicating with each other in speech and writing. However, it is hard to feel quite so sanguine about our word power when considering those 25,000 words account for less than fifteen per cent of the total words in current usage in the English language. Furthermore, new words are created all the time and, as the word pool flourishes, can we afford to allow our vocabulary to stagnate?

Logophile Joseph Piercy has the answer: a simple challenge to learn A Word a Day from this user-friendly onomasticon (that's a word list designed for a specific purpose - in case you were wondering ...). Each of the 365 words have been carefully selected for their elegance and pertinence in everyday situations and every entry contains a clear and concise outline of meaning, origin and sample usage in context, alongside fascinating word related facts and trivia.

A Word a Day is a treasure trove of fascination and fun for all language lovers - delve in and enhance your vocabulary.

In 1872, Ralph Waldo Emerson wrote, "Science does not know its debt to imagination," words that still ring true in the worlds of health and health care today. The checklists and clinical algorithms of modern medicine leave little space for imagination, and yet we depend on creativity and ingenuity for the advancement of medicine-to diagnose unusual conditions, to innovate treatment, and to make groundbreaking discoveries. We know a great deal about the empirical aspects of medicine, but we know far less about what the medical imagination is, what it does, how it works, or how we might train it. In The Medical Imagination, Sari Altschuler argues that this was not always so. During the eighteenth and nineteenth centuries, doctors understood the imagination to be directly connected to health, intimately involved in healing, and central to medical discovery. In fact, for physicians and other health writers in the early United States, literature provided important forms for crafting, testing, and implementing theories of health. Reading and writing poetry trained judgment, cultivated inventiveness, sharpened observation, and supplied evidence for medical research, while novels and short stories offered new perspectives and sites for experimenting with original medical theories. Such imaginative experimentation became most visible at moments of crisis or novelty in American medicine, such as the 1790s yellow fever epidemics, the global cholera pandemics, and the discovery of anesthesia, when conventional wisdom and standard practice failed to produce satisfying answers to pressing questions. Throughout the eighteenth and nineteenth centuries, health research and practice relied on a broader complex of knowing, in which imagination often worked with and alongside observation, experience, and empirical research. In reframing the historical relationship between literature and health, The Medical Imagination provides a usable past for contemporary conversations about the role of the imagination-and the humanities more broadly-in health research and practice today.

This volume contains a collection of papers that deal with Romance linguistics from two broad perspectives: multilingualism and language acquisition. Some of the contributions investigate these phenomena in the light of language contact, language attitudes and code switching in multilingual societies or multilingual families. Others focus on the acquisition of rhythmic patterns, intonation or even emotions in a second language. Many of the contributions present themes related to oral production or speech. The book in itself is multilingual and includes papers written in Italian, Portuguese, Spanish and English.

The first fully detailed and critically contextualised study of the novels of Ivy Compton-Burnett Ivy Compton-Burnett is a strikingly original novelist, writing conversation-novels in which talk is the medium and subject. She is innovative like Joyce and Woolf but more accessible and less theoretical, a modernist unawares. She makes readers think and her terse cool witty style reminds us that the novel is an art. To read most living writers of fiction after reading her is to feel novelists have become lazy and made their readers lazy. She requires attention, and she doesn't write to pass the time or invite identification, but she is amusing and challenging. This re-valuation of a neglected artist is a close analysis of forms, ideas and language in novels which range from her first conventionally moral love-story, Dolores, which she tried to suppress, to startling stories about landed gentry in Victorian and Edwardian England. Key Features Provides incisive and accessible close readings of Compton-Burnett's language, life-narratives, emotional expression and thought Presents new work of a leading critic Places Compton-Burnett in the context of Modernist writing

The creation of texts preserves culture, literature, myth, and society, and provides invaluable insights into history. Yet we still have much to learn about the history of how those texts were produced and how the production of texts has influenced modern societies, particularly in smaller nations like Wales. The story of publishing in Wales is closely connected to the story of Wales itself. Wales, the Welsh people, and the Welsh language have survived invasion, migration, oppression, revolt, resistance, religious and social upheaval, and economic depression. The books of Wales chronicle this story and the Welsh people's endurance over centuries of challenges. Ancient law-books, medieval manuscripts, legends and myths, secretly printed religious works, poetry, song, social commentary, and modern novels tell a story of a tiny nation, its hardy people, and an enduring literary legacy that has an outsized influence on culture and literature far beyond the Welsh borders.

This single volume brings together all of Poe's stories and poems, and illuminates the diverse and multifaceted genius of one of the greatest and most influential figures in American literary history.

In this ground-breaking work, Bridget Orr shows that popular eighteenth-century theatre was about much more than fashion, manners and party politics. Using the theatre as a means of circulating and publicizing radical Enlightenment ideas, many plays made passionate arguments for religious and cultural toleration, and voiced protests against imperial invasion and forced conversion of indigenous peoples by colonial Europeans. Irish and labouring-class dramatists wrote plays, often set in the countryside, attacking social and political hierarchy in Britain itself. Another crucial but as yet unexplored aspect of early eighteenth-century theatre is its connection to freemasonry. Freemasons were pervasive as actors, managers, prompters, scene-painters, dancers and musicians, with their own lodges, benefit performances and particular audiences. In addition to promoting the Enlightened agenda of toleration and cosmopolitanism, freemason dramatists invented the new genre of domestic tragedy, a genre that criticized the effects of commercial and colonial capitalism.

The Poetics of Insecurity turns the emerging field of literary security studies upside down. Rather than tying the prevalence of security to a culture of fear, Johannes Voelz shows how American literary writers of the past two hundred years have mobilized insecurity to open unforeseen and uncharted horizons of possibility for individuals and collectives. In a series of close readings of works by Charles Brockden Brown, Harriet Jacobs, Willa Cather, Flannery O'Connor, and Don DeLillo, Voelz brings to light a cultural imaginary in which conventional meanings of security and insecurity are frequently reversed, so that security begins to appear as deadening and insecurity as enlivening. Timely, broad-ranging, and incisive, Johannes Voelz's study intervenes in debates on American literature as well as in the interdisciplinary field of security studies. It fundamentally challenges our existing explanations for the pervasiveness of security in American cultural and political life.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.

When the term 'dinosaur' was coined in 1842, it referred to fragmentary British fossils. In subsequent decades, American discoveries-including Brontosaurus and Triceratops-proved that these so-called 'terrible lizards' were in fact hardly lizards at all. By the 1910s 'dinosaur' was a household word. Reimagining Dinosaurs in Late Victorian and Edwardian Literature approaches the hitherto unexplored fiction and popular journalism that made this scientific term a meaningful one to huge transatlantic readerships. Unlike previous scholars, who have focused on displays in American museums, Richard Fallon argues that literature was critical in turning these extinct creatures into cultural icons. Popular authors skilfully related dinosaurs to wider concerns about empire, progress, and faith; some of the most prominent, like Arthur Conan Doyle and Henry Neville Hutchinson, also disparaged elite scientists, undermining distinctions between scientific and imaginative writing. The rise of the dinosaurs thus accompanied fascinating transatlantic controversies about scientific authority.

Nineteenth-Century American Literature and the Discourse of Natural History illuminates how literary experimentation with natural history provides penumbral views of environmental survival. The book brings together feminist revisions of scientific objectivity and critical race theory on diaspora to show how biogeography influenced material and metaphorical concepts of species and race. It also highlights how lesser known writers of color like Simon Pokagon and James McCune Smith connected species migration and mutability to forms of racial uplift. The book situates these literary visions of environmental fragility and survival amidst the development of Darwinian theories of evolution and against a westward expanding American settler colonialism.

Stephen Hudson is the pen name of Sydney Schiff (1868-1944), an English novelist who received acclaim in the 1920s and 1930s from such writers as Thomas Mann and Somerset Maugham. Since that time, however, literary tastes have changed, and interest in Hudson's work has diminished. That Hudson's novels do not deserve such obscurity is the belief of Theophilus E. M. Boll, who here introduces one of the best of them, Richard, Myrtle and I, to present-day readers. Boll's biographical and critical sections contain, respectively, the first authentic account of Hudson's life, and the first comprehensive study of the development and the meaning of his art as novelist and short-story writer. The two -part introduction adds a wholly new section to the history of the English novel in the twentieth century and to the history of literary relationships between the Continent and England. In telling the story of a marriage of minds and the literary consequences it produced, Boll places the form and content of Hudson's art against the background of his particular experiences. The novel Richard, Myrtle and I, which forms the second half of this volume, is clearly representative of Stephen Hudson's best work. It is largely autobiographical in its main theme: the evolution of Stephen Hudson as novelist. Newly edited by Violet Schiff, the Myrtle in the story, it is a blend of realism and allegory that tells how a strong creative impulse and encouragement from a sympathetic wife make it possible for a sensitive and perceptive man to become a creative artist. Appraising his own work, Stephen Hudson once remarked, "I have never had any desire to write for the sake of writing and I am devoid of ambition. I have accumulated a quantity of vital experience which remains in a state of flux. Continuously passing in and out of my consciousness it demands to be sorted out and synthesized. When the chaos becomes unbearable I start writing and go on until the congestion is relieved." Referring to this passage, Boll comments, "We ought not to misunderstand that modesty of his. It was based on a pride that aimed at perfection because nothing lower was worth aiming at. After the labor of creating was over, Hudson measured what he had done against what he judged to be supremely great; any lower standard meant a concession his pride would not make." It is in Richard, Myrtle and I that Stephen Hudson came closest, perhaps, to his unattainable goal.

The James Baldwin Review (JBR) is an annual journal that brings together a wide array of peer-reviewed critical and creative work on the life, writings, and legacy of James Baldwin. In addition to these cutting-edge contributions, each issue contains a review of recent Baldwin scholarship and an award-winning graduate student essay. The James Baldwin Review publishes essays that invigorate scholarship on James Baldwin; catalyze explorations of the literary, political, and cultural influence of Baldwin's writing and political activism; and deepen our understanding and appreciation of this complex and luminary figure. It is the aim of the James Baldwin Review to provide a vibrant and multidisciplinary forum for the international community of Baldwin scholars, students, and enthusiasts. -- .

Beckett and Buddhism undertakes a twenty-first-century reassessment of the Buddhist resonances in Samuel Beckett's writing. These reverberations, as Angela Moorjani demonstrates, originated in his early reading of Schopenhauer. Drawing on letters and archives along with recent studies of Buddhist thought and Schopenhauer's knowledge of it, the book charts the Buddhist concepts circling through Beckett's visions of the 'human predicament' in a blend of tears and laughter. Moorjani offers an in-depth elucidation of texts that are shown to intersect with the negative and paradoxical path of the Buddha, which she sets in dialogue with Western thinking. She brings further perspectives from cognitive philosophy and science to bear on creative emptiness, the illusory 'I', and Beckett's probing of the writing process. Readers will benefit from this far-reaching study of one of the most acclaimed writers of the twentieth century who explored uncharted topologies in his fiction, theatre, and poetry.

Life Writing in the Posthuman Anthropocene is a timely collection of insightful contributions that negotiate how the genre of life writing, traditionally tied to the human perspective and thus anthropocentric qua definition, can provide adequate perspectives for an age of ecological disasters and global climate change. The volume's eight chapters illustrate the aptness of life writing and life writing studies to critically reevaluate the role of "the human" vis-a-vis non-human others while remaining mindful of persisting inequalities between humans regarding who causes and who suffers damage in the Anthropocene age. The authors in this collection not only expand the toolbox of life writing studies by engaging with critical insights from the fields of posthumanism and ecocriticism, but, in turn, also enrich those fields by offering unique approaches to contemplate the responsibility of humans for as well as their relational existence in the posthuman Anthropocene.