Augustine's Confessions and Shakespeare's King Lear are two of the most influential and enduring works of the Western canon or world literature. But what does Stratford-upon-Avon have to do with Hippo, or the ascetical heretic-fighting polemicist with the author of some of the world's most beautiful love poetry? To answer these questions, Kim Paffenroth analyses the similarities and differences between the thinking of these two figures on the themes of love, language, nature and reason. Pairing and connecting the insights of Shakespeare's most nihilist tragedy with those of Augustine's most personal and sometimes self-condemnatory, sometimes triumphal work, challenges us to see their worldviews as more similar than they first seem, and as more relevant to our own fragmented and disillusioned world.

A Hardcover Classics edition of Thomas Hardy s impassioned novel of courtship in rural life, soon to be a movie starring Carey Mulligan and Michael Sheen In Thomas Hardy s first major literary success, independent and spirited Bathsheba Everdene has come to Weatherbury to take up her position as a farmer on the largest estate in the area. Her bold presence draws three very different suitors: the gentleman-farmer Boldwood, the soldier-seducer Sergeant Troy, and the devoted shepherd Gabriel Oak. Each, in contrasting ways, unsettles her decisions and complicates her life, and tragedy ensues, threatening the stability of the whole community. One of his first works set in the semi-fictional region of Wessex, Hardy s novel of swift passion and slow courtship is imbued with his evocative descriptions of rural life and landscapes, and with unflinching honesty about sexual relationships. This edition, based on Hardy s original 1874 manuscript, is the complete novel he never saw published, and restores its full candor and innovation. Rosemarie Morgan s introduction discusses the history of its publication, as well as the biblical and classical allusions that permeate the novel."

Kierkegaard's Concluding Unscientific Postscript is a classic of existential literature. It concludes the first and richest phase of Kierkegaard's pseudonymous authorship and is the text that philosophers look to first when attempting to define Kierkegaard's own philosophy. Familiar Kierkegaardian themes are introduced in the work, including truth as subjectivity, indirect communication, the leap, and the impossibility of forming a philosophical system for human existence. The Postscript sums up the aims of the preceding pseudonymous works and opens the way to the next part of Kierkegaard's increasingly tempestuous life: it can thus be seen as a cornerstone of his philosophical thought. This volume offers the work in a new and accessible translation by Alastair Hannay, together with an introduction that sets the work in its philosophical and historical contexts.

Essays tackling the difficult but essential question of how medievalism studies should look at the issue of what is and what is not "authentic". Given the impossibility of completely recovering the past, the issue of authenticity is clearly central to scholarship on postmedieval responses to the Middle Ages. The essays in the first part of this volume address authenticitydirectly, discussing the 2017 Middle Ages in the Modern World conference; Early Gothic themes in nineteenth-century British literature; medievalism in the rituals of St Agnes; emotions in Game of Thrones; racism in Disney's Middle Ages; and religious medievalism. The essayists' conclusions regarding authenticity then inform, even as they are tested by, the subsequent papers, which consider such matters as medievalism in contemporary French populism; nationalism in re-enactments of medieval battles; postmedieval versions of the Kingis Quair; Van Gogh's invocations of Dante; Surrealist medievalism; chant in video games; music in cinematic representations of the Black Death; and sound in Aleksei German's film Hard to Be a God. Karl Fugelso is Professor of Art History at Towson University in Baltimore, Maryland. Contributors: Aida Audeh, Tessel Bauduin, Matthias Berger, Karen Cook, Timothy Curran, Nickolas Haydock, Alexander Kolassa, Carolyne Larrington, David Matthews, E.J. Pavlinich, Lotte Reinbold, Clare Simmons, Adam Whittaker, Daniel Wollenberg.

"Every year I bury a couple hundred of my townspeople." So opens this singular and wise testimony. Like all poets, inspired by death, Thomas Lynch is, unlike others, also hired to bury the dead or to cremate them and to tend to their families in a small Michigan town where he serves as the funeral director. In the conduct of these duties he has kept his eyes open, his ear tuned to the indispensable vernaculars of love and grief. In these twelve pieces his is the voice of both witness and functionary. Here, Lynch, poet to the dying, names the hurts and whispers the condolences and shapes the questions posed by this familiar mystery. So here is homage to parents who have died and to children who shouldn't have. Here are golfers tripping over grave markers, gourmands and hypochondriacs, lovers and suicides. These are the lessons for life our mortality teaches us.

Published in English for the first time, Refugee Conversations is a delightful work that reveals Brecht as a master of comic satire. Written swiftly in the opening years of the Second World War, the dialogues have an urgent contemporary relevance to a Europe once again witnessing populations on the move. The premise is simple: two refugees from Nazi Germany meet in a railway cafe and discuss the current state of the world. They are a bourgeois Jewish physicist and a left-leaning worker. Their world views, their voices and their social experience clash horribly, but they find they have unexpected common ground - especially in their more recent experience of the surreal twists and turns of life in exile, the bureaucracy, and the pathetic failings of the societies that are their unwilling hosts. Their conversations are light and swift moving, the subjects under discussion extremely various: beer, cigars, the Germans' love of order, their education and experience of life, art, pornography, politics, 'great men', morality, seriousness, Switzerland, America ... despite the circumstances of both characters there is a wonderfully whimsical serendipity about their dialogue, the logic and the connections often delightfully absurd. This edition features a full introduction and notes by Professor Tom Kuhn (St Hugh's College, University of Oxford, UK).

A generation ago the Achaemenid Empire was a minor sideshow within long-established disciplines. For Greek historians, the Persians were the defeated national enemy, a catalyst of change in the aftermath of the fall of Athens or the victim of Alexander. For Egyptologists and Assyriologists, they belonged to an era that received scant attention compared with the glory days of the New Kingdom or the Neo-Assyrian Empire. For most archaeologists, they were elusive in a material record that lacked a distinctively Achaemenid imprint. Things have changed now. The empire is an object of study in its own right, and a community of Achaemenid specialists has emerged to carry that study forward. Such communities are, however, apt to talk among themselves and the present volume aims to give a professional but non-specialist audience some taste of the variety of subject-matter and discourse that typifies Achaemenid studies. The broad theme of political and cultural interaction reflecting the empires diversity and the nature of our sources for its history is illustrated in fourteen chapters that move from issues in Greek historiography through a series of regional studies (Egypt, Anatolia, Babylonia and Persia) to Zarathushtra, Alexander the Great and the early modern reception of Persepolis.

This book reconstructs the lines of nihilism that Walter Benjamin took from Friedrich Nietzsche that define both his theory of art and the avant-garde, and his approach to political action. It retraces the eccentric route of Benjamin's philosophical discourse in the representation of the modern as a place of "permanent catastrophe", where he attempts to overcome the Nietzschean nihilism through messianic hope. Using conventions from literary criticism this book explores the many sources of Benjamin's thought, demonstrating that behind the materialism which Benjamin incorporates into his Theses on the Concept of History is hidden Nietzsche's nihilism. Mauro Ponzi analyses how Benjamin's Arcades Project uses figures such as Baudelaire, Marx, Aragon, Proust and Blanqui as allegories to explain many aspects of modernity. The author argues that Benjamin uses Baudelaire as a paradigm to emphasize the dark side of the modern era, offering us a key to the interpretation of communicative and cultural trends of today.

Like his father and grandfather before him, Kino is a poor diver, gathering pearls from the gulf beds that once brought great wealth to the Kings of Spain and now provide Kino, Juana, and their infant son with meager subsistence. Then, on a day like any other, Kino emerges from the sea with a pearl as large as a sea gull's egg, as "perfect as the moon." With the pearl comes hope, the promise of comfort and of security . . .

A story of classic simplicity, based on a Mexican folk tale, "The Pearl "explores the secrets of man's nature, the darkest depths of evil, and the luminous possibilities of love.

First published in 1899, this beautiful, brief  novel so disturbed critics and the public that it  was banished for decades afterward. Now widely read  and admired, The Awakening has  been hailed as an early vision of woman's  emancipation. This sensuous book tells of a woman's  abandonment of her family, her seduction, and her  awakening to desires and passions that threated to  consumer her. Originally entitled "A Solitary  Soul," this portrait of twenty-eight-year-old  Edna Pontellier is a landmark in American fiction,  rooted firmly in the romantic tradition of Herman  Melville and Emily Dickinson. Here, a woman in  search of self-discovery turns away from convention and  society, and toward the primal, from convention  and society, and toward the primal, irresistibly  attracted to nature and the sensesThe  Awakening, Kate Chopin's last novel, has been  praised by Edmund Wilson as "beautifully  written." And Willa Cather described its style as  "exquisite," "sensitive," and  "iridescent." This edition of The  Awakening also includes a selection of  short stories by Kate Chopin.

"This seems to me a  higher order of feminism than repeating the story  of woman as victim... Kate Chopin gives her female  protagonist the central role, normally reserved  for Man, in a meditation on identity and culture,  consciousness and art." -- From the  introduction by Marilynne Robinson.

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.

This revised volume follows the complete unabridged text as corrected in 1961. Contains the original foreword by the author and the historic court ruling to remove the federal ban. It also contains page references to the first American edition of 1934.

There was a time when good writing would be defined simply by adverting to a few literary classics. That kind of strategy is less helpful these days, when so many different styles and voices clamor for attention. What Is Good Writing? sets the terms for a contemporary debate on writing achievement by drawing on empirical research in linguistics and the other cognitive sciences that shed light on the development of fluency in language generally. The utility of defining good writing as fluent writing in this sense - on a par with the typical fluency in speech attained by normal adults - is demonstrated by the progress it permits in evaluating the success of current writing programs in school and university, which for the most part have proved unable to deliver writing assessments that are both valid and reliable. What Is Good Writing? indicates an alternative approach that rests on a more scientific footing and shows why reading is key and why standard composition programs are so often seen to fail.

The essays collected within this volume ask how literary practices are shaped by the experience of being at sea-and also how they forge that experience. Individual chapters explore the literary worlds of naval ships, whalers, commercial vessels, emigrant ships, and troop transports from the seventeenth to the twentieth-first century, revealing a rich history of shipboard reading, writing, and performing. Contributors are interested both in how literary activities adapt to the maritime world, and in how individual and collective shipboard experiences are structured through-and framed by-such activities. In this respect, the volume builds on scholarship that has explored reading as a spatially situated and embodied practice. As our contributors demonstrate, the shipboard environment and the ocean beyond it place the mind and body under peculiar forms of pressure, and these determine acts of reading-and of writing and performing-in specific ways.

This collection of essays brings together an international team of scholars with the aim to shed new light on various interconnected aspects of the Gothic through the lens of converging critical and methodological approaches. With its wide-ranging interdisciplinary perspective, the book explores the domains of literary, pictorial, filmic, televisual and popular cultural texts in English from the eighteenth century to the present day. Within these pages, the Gothic is discussed as a dynamic form that exceeds the concept of literary genre, proving able to renovate and adapt through constant processes of hybridisation. Investigating the hypothesis that the Gothic returns in times of cultural crisis, this study maps out transgressive and experimental modes conducive to alternative experiences of the intricacies of the human (and post-human) condition.

The fragments and testimonia of the early Greek philosophers (often labeled the Presocratics) have always been not only a fundamental source for understanding archaic Greek culture and ancient philosophy but also a perennially fresh resource that has stimulated Western thought until the present day. This new systematic conception and presentation of the evidence differs in three ways from Hermann Diels's groundbreaking work, as well as from later editions: it renders explicit the material's thematic organization; it includes a selection from such related bodies of evidence as archaic poetry, classical drama, and the Hippocratic corpus; and it presents an overview of the reception of these thinkers until the end of antiquity. Volume I contains introductory and reference materials essential for using all other parts of the edition. Volumes II-III include chapters on ancient doxography, background, and the Ionians from Pherecydes to Heraclitus. Volumes IV-V present western Greek thinkers from the Pythagoreans to Hippo. Volumes VI-VII comprise later philosophical systems and their aftermath in the fifth and early fourth centuries. Volumes VIII-IX present fifth-century reflections on language, rhetoric, ethics, and politics (the so-called sophists and Socrates) and conclude with an appendix on philosophy and philosophers in Greek drama.

Epistemic Freedom in Africa is about the struggle for African people to think, theorize, interpret the world and write from where they are located, unencumbered by Eurocentrism. The imperial denial of common humanity to some human beings meant that in turn their knowledges and experiences lost their value, their epistemic virtue. Now, in the twenty-first century, descendants of enslaved, displaced, colonized, and racialized peoples have entered academies across the world, proclaiming loudly that they are human beings, their lives matter and they were born into valid and legitimate knowledge systems that are capable of helping humanity to transcend the current epistemic and systemic crises. Together, they are engaging in diverse struggles for cognitive justice, fighting against the epistemic line which haunts the twenty-first century. The renowned historian and decolonial theorist Sabelo J. Ndlovu-Gatsheni offers a penetrating and well-argued case for centering Africa as a legitimate historical unit of analysis and epistemic site from which to interpret the world, whilst simultaneously making an equally strong argument for globalizing knowledge from Africa so as to attain ecologies of knowledges. This is a dual process of both deprovincializing Africa, and in turn provincializing Europe. The book highlights how the mental universe of Africa was invaded and colonized, the long-standing struggles for 'an African university', and the trajectories of contemporary decolonial movements such as Rhodes Must Fall and Fees Must Fall in South Africa. This landmark work underscores the fact that only once the problem of epistemic freedom has been addressed can Africa achieve political, cultural, economic and other freedoms. This groundbreaking new book is accessible to students and scholars across Education, History, Philosophy, Ethics, African Studies, Development Studies, Politics, International Relations, Sociology, Postcolonial Studies and the emerging field of Decolonial Studies. The Open Access versions Chapter 1 and Chapter 9, available at https://doi.org/10.4324/9780429492204 have been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

This book explores the reception history of the most important Jewish Bible commentary ever composed, the Commentary on the Torah of Rashi (Shlomo Yitzhaki; 1040-1105). Though the Commentary has benefited from enormous scholarly attention, analysis of diverse reactions to it has been surprisingly scant. Viewing its path to preeminence through a diverse array of religious, intellectual, literary, and sociocultural lenses, Eric Lawee focuses on processes of the Commentary's canonization and on a hitherto unexamined-and wholly unexpected-feature of its reception: critical, and at times astonishingly harsh, resistance to it. Lawee shows how and why, despite such resistance, Rashi's interpretation of the Torah became an exegetical classic, a staple in the curriculum, a source of shared religious vocabulary for Jews across time and place, and a foundational text that shaped the Jewish nation's collective identity. The book takes as its larger integrating perspective processes of canonicity as they shape how traditions flourish, disintegrate, or evolve. Rashi's scriptural magnum opus, the foremost work of Franco-German (Ashkenazic) biblical scholarship, faced stiff competition for canonical supremacy in the form of rationalist reconfigurations of Judaism as they developed in Mediterranean seats of learning. It nevertheless emerged triumphant in an intense battle for Judaism's future that unfolded in late medieval and early modern times. Investigation of the reception of the Commentary throws light on issues in Jewish scholarship and spirituality that continue to stir reflection, and even passionate debate, in the Jewish world today.

In the past few years, the concept of "liminality" has become a kind of pet theme within the discipline of Cultural Studies, lending itself to phenomena of transgression and systemic demarcation. This anthology employs theories of liminality to discuss Canada's geographic and symbolic boundaries, taking its point of departure from the observation that "Canada" itself, as a cultural, political, and geographic entity, encapsulates elements of the "liminal." The essays comprised in this volume deal with fragmented and contradictory practices in Canada, real and imagined borders, as well as contact zones, thresholds, and transitions in Anglo-Canadian and French-Canadian texts, discussing topics such as the U.S./Canadian border, migration, French-English relations, and encounters between First Nations and settlers.

The book demonstrates an evidence-based approach to online memory practices of World War II. Network analysis is applied to reduce a massive and unreadable dataset of forum texts and user relations. Further, the results are combined with other text analysis methods, such as topic modeling and contrastive stylometric analyses. A sample of discussions from each group is read and categorized. Based on the results, the forum users‘ memory practices are labelled as empirical, conversational and conservational practices, whereby recent theoretical developments in Memory Studies are considered.