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Anne Middleton's essays have been among the most vigorous, learned,
and influential in the field of medieval English literature. Their
'crux-busting' energies have illuminated local obscurities with
generous learning lightly wielded. Their historically- and
theoretically-informed meditations on the nature of poetic
discourse traced how the generation of Chaucer and Langland devised
a category of the literary that could embody a ethos of engaged,
worldly consensus and make that consensus available to imaginative
and rational consideration. And their reflections on the enterprise
of literary study found a rational way, free of cant, to understand
the work of the literary scholar. This volume reprints eight
essays: 'The Idea of Public Poetry in the Reign of Richard II,'
'Chaucer's 'New Men' and the Good of Literature in the Canterbury
Tales,' 'The Physician's Tale and Love's Martyrs: 'Ensamples Mo
than Ten' as a Method in the Canterbury Tales,' 'The Clerk and His
Tale: Some Literary Contexts,' 'Narration and the Invention of
Experience: Episodic Form in Piers Plowman,' 'Making a Good End:
John But as a Reader of Piers Plowman,' 'William Langland's 'Kynde
Name': Authorial Signature and Social Identity in Late
Fourteenth-Century England,' 'Life in the Margins, or, What's an
Annotator to Do?' It includes one essay previously unpublished,
'Playing the Plowman: Legends of Fourteenth-Century Authorship.'
In Mother Stone Anne Middleton Wagner looks anew at the carvings of
the first generation of British modernists, a group centered around
Henry Moore, Barbara Hepworth, and Jacob Epstein. Wagner probes the
work of these sculptors, discusses their shared avant-garde
materialism, and identifies a common theme that runs through their
work and that of other artists of the period: maternity. Why were
artists for three turbulent decades after the First World War
seemingly preoccupied with representations of pregnant women and
the mother and child? Why was this the great new subject,
especially for sculpture? Why was the imagery of bodily
reproduction at the core of the effort to revitalize what in
Britain had become a somnolent art? Wagner finds the answers to
these questions at the intersection between the politics of
maternity and sculptural innovation. She situates British sculpture
fully within the new reality of "bio-power"-the realm of Marie
Stopes, Brave New World, and Melanie Klein. And in a series of
brilliant studies of key works, she offers a radical rereading of
this sculpture's main concerns and formal language. Published for
the Paul Mellon Centre for Studies in British Art
A Room without Walls is a memoir detailing my life after being
diagnosed with a series of mental disorders. The memoir's narrative
is stream of consciousness and poetry. The audiences I hope to
reach with this novel are those who have mental illness, addiction,
and those who have loved ones afflicted with these conditions. I
also hope to reach a young adult audience, with the intent to
reduce some of the stigma associated with mental illness. Other
novels that have been published on the subject are Prozac Nation, I
Never Promised You a Rose Garden, and Girl Interrupted.
Some verses to make you laugh and some very strange stories. Verses
about snooty dogs, dancing mice, undie-eating goats mingle with
stories about cave-people. Lots of illustrations to add to the fun.
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.
Written For The Records Of The Mary Mildred Sullivan Chapter Of The
United Daughters Of The Confederacy, New York City.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
In this exhilarating book, Anne Middleton Wagner challenges readers
to rethink the work of a range of post-World War II artists -
Jasper Johns, Andy Warhol, Maya Lin, Bruce Nauman, and Agnes Martin
among them - and thus to re-assess the relationship of art to
politics and social life. The art of U.S. empire, she argues, is
marked by deep dividedness. Painters and sculptors seemed entranced
by American symbols, yet used them to enigmatic ends - exuberant,
nightmarish, or both. Nor could postwar culture decide if it
preserved sites devoted to productive withdrawal - for artists, the
special zone called the studio - or simply maintained a margin
where numbed subjects rehearsed the rites of vanished
self-expression. This book charts the to-and-fro in recent American
art between acknowledging the facts of nation and consumerism, and
searching for meaningful models. And it shows that this process
engages - even structures - national history and the citizen's
self.
Anne Middleton's essays have been among the most vigorous, learned,
and influential in the field of medieval English literature. Their
'crux-busting' energies have illuminated local obscurities with
generous learning lightly wielded. Their historically- and
theoretically-informed meditations on the nature of poetic
discourse traced how the generation of Chaucer and Langland devised
a category of the literary that could embody a ethos of engaged,
worldly consensus and make that consensus available to imaginative
and rational consideration. And their reflections on the enterprise
of literary study found a rational way, free of cant, to understand
the work of the literary scholar. This volume reprints eight
essays: 'The Idea of Public Poetry in the Reign of Richard II,'
'Chaucer's 'New Men' and the Good of Literature in the Canterbury
Tales,' 'The Physician's Tale and Love's Martyrs: 'Ensamples Mo
than Ten' as a Method in the Canterbury Tales,' 'The Clerk and His
Tale: Some Literary Contexts,' 'Narration and the Invention of
Experience: Episodic Form in Piers Plowman,' 'Making a Good End:
John But as a Reader of Piers Plowman,' 'William Langland's 'Kynde
Name': Authorial Signature and Social Identity in Late
Fourteenth-Century England,' 'Life in the Margins, or, What's an
Annotator to Do?' It includes one essay previously unpublished,
'Playing the Plowman: Legends of Fourteenth-Century Authorship.'
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