York Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced intorduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

'Beowulf', one of the earliest poems in the English language, recounts a tale of heroism played out against the backdrop of Scandinavia in the 5th to 6th centuries AD. And yet, this Old English verse narrative set in Scandinavia is - a little surprisingly, perhaps - populated with names of German descent. This insight into the personal names of 'Beowulf' acts the starting point for Philip A. Shaw's innovative and nuanced study. As Shaw reveals, the origins of these personal names provide important evidence for the origins of Beowulf as it enables us to situate the poem fully in its continental contexts. As such, this book is not only a much-needed reassessment of 'Beowulf''s beginnings, but also sheds new light on the links between 'Beowulf' and other continental narrative traditions, such as the Scandinavian sagas and Continental German heroics. In doing so, Names and Naming in 'Beowulf' takes readers beyond the continuing debate over the dating of the poem and provides a compelling new model for the poem's origins.

Key Features: Study methods Introduction to the text Summaries with critical notes Themes and techniques Textual analysis of key passages Author biography Historical and literary background Modern and historical critical approaches Chronology Glossary of literary terms

Building on the formula of York Notes, this series introduces students to more sophisticated analysis and wider critical perspectives. This enbables students to appreciate contrasting interpretations of the text and to develop critical thinking. This text covers The Aeneid by Virgil.

Is poetry still relevant today, or is it merely a dwindling historical art? How have poets of the recent past dealt with challenges to poetics? Seeking to chart the poetic act in a period not so much hostile as indifferent to poetry, Language at the Boundaries outlines spaces where poetry and poetics emerge in migration, translation, world literature, canon formation, and the history of science and technology. One can only come so close to fully possessing or explaining everything about the poetic act, and this book grapples with these limits by perusing, analyzing, deconstructing, and reconstructing creativity, implementing different approaches in doing so. Peter Carravetta consolidates historical epistemological positions that have accrued over the last several decades, some spurred by the modernism/postmodernism debate, and unpacks their differences--juxtaposing Vico with Heidegger and applying the approaches of translation studies, decolonization, indigeneity, committed literature, and critical race theory, among others. What emerges is a defense and theory of poetics in the contemporary world, engaging the topic in a dialectic mode and seeking grounds of agreement.

Humphrey Jennings was one of Britain's greatest documentary film-makers, described by Lindsay Anderson in 1954 as 'the only real poet the British cinema has yet produced'. A member of the GPO Film Unit and director of wartime canonical classics such as Listen to Britain (1942) and A Diary for Timothy (1945), he was also an acclaimed writer, painter, photographer and poet. This seminal collection of critical essays, first published in 1982 and here reissued with a new introduction, traces Jennings's fascinating career in all its aspects with the aid of documents from the Jennings family archive. Situating Jennings's work in the world of his contemporaries, and illuminating the qualities by which his films are now recognised, Humphrey Jennings: Film-Maker, Painter, Poet explores the many insights and cultural contributions of this truly remarkable artist.

A medieval Catalan verse fantasy by Bernat Metge, the most important Catalan writer of the fourteenth century, Written around 1381 by Bernat Metge, the most important Catalan writer of the fourteenth century, the Llibre de Fortuna i Prudencia is a fantasy in verse, drawing on learned sources, principally The Consolation of Philosophy by Boethius. Early one morning, Bernat, the protagonist and narrator, decides to alleviate his sorrows by strolling around the harbour of Barcelona. He meets an old man, apparently a beggar, who tricks him into getting into a boat which, despite the absence of sails and oars, conveys him to an island where the goddess Fortuna appears to him. In a heated discussion, Bernat blames her for all his misfortunes. His next meeting is with Prudenciawho is accompanied by seven maidens representing the liberal arts. Prudencia is able to lessen his despair, and exhorts him to trust in providence and renounce material possessions. When she considers him cured, she and the maidens send him sailing back to Barcelona, where he quickly goes home to avoid gossiping townsfolk. Published in association with Editorial Barcino, Barcelona. DAVID BARNETT, whose doctorate is from Queen Mary, University of London, continues to be involved in research on medieval Catalan literature.

Humor in recent American poetry has been largely dismissed or ignored by scholars, due in part to a staid reverence for the lyric. Laugh Lines: Humor, Genre, and Political Critique in Late Twentieth-Century American Poetry argues that humor is not a superficial feature of a small subset, but instead an integral feature in a great deal of American poetry written since the 1950s. Rather than viewing poetry as a lofty, serious genre, Carrie Conners asks readers to consider poetry alongside another art form that has burgeoned in America since the 1950s: stand-up comedy. Both art forms use wit and laughter to rethink the world and the words used to describe it. Humor's disruptive nature makes it especially whetted for critique. Many comedians and humorous poets prove to be astute cultural critics. To that end, Laugh Lines focuses on poetry that wields humor to espouse sociopolitical critique. To show the range of recent American poetry that uses humor to articulate sociopolitical critique, Conners highlights the work of poets working in four distinct poetic genres: traditional, received forms, such as the sonnet; the epic; procedural poetry; and prose poetry. Marilyn Hacker, Harryette Mullen, Ed Dorn, and Russell Edson provide the main focus of the chapters, but each chapter compares those poets to others writing humorous political verse in the same genre, including Terrance Hayes and Anne Carson. This comparison highlights the pervasiveness of this trend in recent American poetry and reveals the particular ways the poets use conventions of genre to generate and even amplify their humor. Conners argues that the interplay between humor and genre creates special opportunities for political critique, as poetic forms and styles can invoke the very social constructs that the poets deride.