This is a passionately argued account of the value of experience and emotion in reading Shakespeare's sonnets and of the importance of reading poetry aloud. Current norms of literary criticism and education tend to ignore the ways in which literary experiences relate to life experience, and some of the ways in which literary experiences themselves can be intensified and deepened. In this vibrant and controversial book, David Fuller seeks to recover the life in Shakespeare's sonnets, arguing that, although feeling and emotion are often ignored in criticism, they should be central to literary experience. He offers two ways of attempting this - first engaging with the poems through the kinds of feeling that are fundamental to the young man sequence as these are presented in other kinds of writing and art - philosophy, poetry, visual art, fiction, music, and film. He then discusses how reading the poems aloud can offer one of the best ways of fully participating in properly engaged reading, showing that dwelling in the words without translating them into other terms allows us to bring out their beauty and expressivity, and ultimately to come to fuller understandings of their form, structure, and meaning. "Shakespeare Now!" is a series of short books that engage imaginatively and often provocatively with the possibilities of Shakespeare's plays. It goes back to the source - the most living language imaginable - and recaptures the excitement, audacity and surprise of Shakespeare. It will return you to the plays with opened eyes.

First published in 1988, this book is a study of all Blake's work in illuminated printing. It traces in particular, the development of his ideas on politics, religion, sexuality, and the imagination. There are substantial sections on some of Blake's best-known works, including the Marriage of Heaven and Hell, and the Songs of Innocence and Experience, and full critical essays on the Four Zoas and Jerusalem. The book describes the historical contexts of Blake's work, and sets it in relation to the political controversies of his age as these are reflected in the writings of Burke, Paine and Mary Wollstonecraft. It discusses the relationships of text and design in Blake, the characteristic verbal textures and rhythms of his longer poems, some influences on his thought, and developing structure of his personal myth and its relationship to other mythologies. The opening chapter discusses areas of fundamental disagreement with some of the main approaches to Blake whilst the final chapter discusses literary theory and the practice of criticism, arguing for an open and explicit involvement of personal experience and values and a more creative use of form in critical writing.

This open access book studies breath and breathing in literature and culture and provides crucial insights into the history of medicine, health and the emotions, the foundations of beliefs concerning body, spirit and world, the connections between breath and creativity and the phenomenology of breath and breathlessness. Contributions span the classical, medieval, early modern, Romantic, Victorian, modern and contemporary periods, drawing on medical writings, philosophy, theology and the visual arts as well as on literary, historical and cultural studies. The collection illustrates the complex significance and symbolic power of breath and breathlessness across time: breath is written deeply into ideas of nature, spirituality, emotion, creativity and being, and is inextricable from notions of consciousness, spirit, inspiration, voice, feeling, freedom and movement. The volume also demonstrates the long-standing connections between breath and place, politics and aesthetics, illuminating both contrasts and continuities.

An interdisciplinary collection of essays exploring the complex and conflicted topic of beauty in cultural, arts and medicine, looking back through the long cultural history of beauty, and asking whether it is possible to 'recover beauty'.

This addition to the ISOR series introduces complementarity models in a straightforward and approachable manner and uses them to carry out an in-depth analysis of energy markets, including formulation issues and solution techniques. In a nutshell, complementarity models generalize: a. optimization problems via their Karush-Kuhn-Tucker conditions b. on-cooperative games in which each player may be solving a separate but related optimization problem with potentially overall system constraints (e.g., market-clearing conditions) c. conomic and engineering problems that aren't specifically derived from optimization problems (e.g., spatial price equilibria) d. roblems in which both primal and dual variables (prices) appear in the original formulation (e.g., The National Energy Modeling System (NEMS) or its precursor, PIES). As such, complementarity models are a very general and flexible modeling format. A natural question is why concentrate on energy markets for this complementarity approach? s it turns out, energy or other markets that have game theoretic aspects are best modeled by complementarity problems. The reason is that the traditional perfect competition approach no longer applies due to deregulation and restructuring of these markets and thus the corresponding optimization problems may no longer hold. Also, in some instances it is important in the original model formulation to involve both primal variables (e.g., production) as well as dual variables (e.g., market prices) for public and private sector energy planning. Traditional optimization problems can not directly handle this mixing of primal and dual variables but complementarity models can and this makes them all that more effective for decision-makers.

This addition to the ISOR series introduces complementarity models in a straightforward and approachable manner and uses them to carry out an in-depth analysis of energy markets, including formulation issues and solution techniques. In a nutshell, complementarity models generalize: a. optimization problems via their Karush-Kuhn-Tucker conditions b. on-cooperative games in which each player may be solving a separate but related optimization problem with potentially overall system constraints (e.g., market-clearing conditions) c. conomic and engineering problems that aren't specifically derived from optimization problems (e.g., spatial price equilibria) d. roblems in which both primal and dual variables (prices) appear in the original formulation (e.g., The National Energy Modeling System (NEMS) or its precursor, PIES). As such, complementarity models are a very general and flexible modeling format. A natural question is why concentrate on energy markets for this complementarity approach? s it turns out, energy or other markets that have game theoretic aspects are best modeled by complementarity problems. The reason is that the traditional perfect competition approach no longer applies due to deregulation and restructuring of these markets and thus the corresponding optimization problems may no longer hold. Also, in some instances it is important in the original model formulation to involve both primal variables (e.g., production) as well as dual variables (e.g., market prices) for public and private sector energy planning. Traditional optimization problems can not directly handle this mixing of primal and dual variables but complementarity models can and this makes them all that more effective for decision-makers.

First published in 1988, this book is a study of all Blake's work in illuminated printing. It traces in particular, the development of his ideas on politics, religion, sexuality, and the imagination. There are substantial sections on some of Blake's best-known works, including the Marriage of Heaven and Hell, and the Songs of Innocence and Experience, and full critical essays on the Four Zoas and Jerusalem. The book describes the historical contexts of Blake's work, and sets it in relation to the political controversies of his age as these are reflected in the writings of Burke, Paine and Mary Wollstonecraft. It discusses the relationships of text and design in Blake, the characteristic verbal textures and rhythms of his longer poems, some influences on his thought, and developing structure of his personal myth and its relationship to other mythologies. The opening chapter discusses areas of fundamental disagreement with some of the main approaches to Blake whilst the final chapter discusses literary theory and the practice of criticism, arguing for an open and explicit involvement of personal experience and values and a more creative use of form in critical writing.

Britten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. Britten is the most literary British composer of the twentieth century. His relationship to the many and varied texts that he set was deeply committed and sensitive. As a result, both his responses to poetry and his collaborationswith his librettists tell us a great deal about his music, and often, about the man himself. This book takes a unique approach to Britten, drawing together well-known Britten experts alongside English, music, modern language andhistory scholars who bring their own perspective to bear on Britten's work. Chapters examine all aspects of Britten's text setting, from his engagement with a wide variety of poetry to his relationship with his librettists. By approaching Britten's operas and songs through their literature, this book offers fresh insights into his vocal works. KATE KENNEDY is the Weinrebe Research Fellow in Life-writing at Wolfson College, Oxford, where she is an associate of both Music and English Faculties. She is a frequent broadcaster for the BBC and specialises in interdisciplinary biography and has published widely on twentieth century music and literature. Contributors:JOANNA BULLIVANT, PHILIP ROSS BULLOCK, NICHOLAS CLARK, MERVYN COOKE, DAVID FULLER, JOHN FULLER, PETER HAPPE, J. P. E. HARPER-SCOTT, JOHN HOPKINS, KATE KENNEDY, ADRIAN POOLE, HANNA ROCHLITZ, PHILIP RUPPRECHT, REBEKAH SCOTT, VICKISTROEHER, JUSTIN VICKERS, LUCY WALKER, BRIAN YOUNG

This open access book studies breath and breathing in literature and culture and provides crucial insights into the history of medicine, health and the emotions, the foundations of beliefs concerning body, spirit and world, the connections between breath and creativity and the phenomenology of breath and breathlessness. Contributions span the classical, medieval, early modern, Romantic, Victorian, modern and contemporary periods, drawing on medical writings, philosophy, theology and the visual arts as well as on literary, historical and cultural studies. The collection illustrates the complex significance and symbolic power of breath and breathlessness across time: breath is written deeply into ideas of nature, spirituality, emotion, creativity and being, and is inextricable from notions of consciousness, spirit, inspiration, voice, feeling, freedom and movement. The volume also demonstrates the long-standing connections between breath and place, politics and aesthetics, illuminating both contrasts and continuities.

"Pearl" is one of the greatest English Medieval poems, a dream vision that is both a profoundly personal elegy for the dreamer's lost daughter and a subtle theological debate about the most difficult existential questions. In this parallel text edition the original poem is printed opposite a modernised version which retains all the formal features of the original - its elaborate musical schemes of alliteration and rhyme, and its rich vocabulary. Words unfamiliar to the contemporary reader are glossed alongside the modernisation so that the poem can easily be read by anybody not familiar with its idiom. In her introduction (almost the last piece of writing completed before her death) Kathleen Raine discusses the poem's celebration 'of all that the anima means and has meant throughout human history and as the inspiration of so much of the greatest poetry'.

The year is 1862, and the Civil War rages through the South. On a Virginia tobacco plantation, another kind of battle soon begins.

"A fascinating and gripping novel about the Civil War. The slave, Cassius Howard, is a great fictional character, and his story is part mystery, part love story, and a harrowing portrait of slavery that reads with the immense power of the slave narratives."
--Pat Conroy, author of Beach Music and South of Broad

"David Fuller vividly and movingly describes the life of Cassius, a slave on a Virginia tobacco plantation. Meticulously researched and beautifully written, Sweetsmoke resonates with unforgettable characters, and is a gripping story of loss and survival."
--Robert Hicks, author of The Widow of the South

"Fuller works hard to give us a mid-19th century world that feels authentic, from small details . . . to the larger sprawl of the plantation . . . captivating."
--The New York Times Book Review

"The plot unfolds at a brisk pace, and Fuller does an especially good job with the battle scenes . . . Cassius, who has never drawn a single breath as a free man, is a compelling character from the start. Sweetsmoke is a well-imagined and researched novel of survival and courage."
--Atlanta Journal-Constitution

"Featuring slave traders, smugglers and spies, the novel transports us to a chilling milieu in which human beings are humiliated, and the slaves have a forlorn hope of freedom, decency and dignity . . . Sweetsmoke haunts us long after the final page is turned."
--Tennessean.com

Romantic criticism, of which Shakespeare is the central figure, invented many of the modes of modern criticism. It is also distinct from many contemporary academic norms. Engaged with the social and intellectual currents of an age of revolutionary change, it is experimental, writerly, and individually expressive. Above all it is creative in response to the difficulties of understanding aesthetic experience in new ways, and in setting those experiences in new cultural and political contexts that Shakespeare's work helped to shape. This book presents the main currents of these exciting but relatively little known engagements with Shakespeare, and through Shakespeare with the theory and practice of criticism, in England, Germany, and France, from the 1760s in Germany to the aftermath of the Romanticism in France. It also discusses Shakespeare in the theatre of the period-realist stagings which prefigure Shakespeare films; adaptations which fitted Shakespeare to contemporary tastes; and bare-stage experiments which foreshadow modes of contemporary theatre. A chapter on scholarship in the period shows Shakespeare as central to modern editing and historical criticism. Much of the writing discussed is by men and women whose focus is not primarily critical but creative-poetry (Coleridge, Keats, Heine), fiction (Stendhal), drama (Lessing), or all three (Goethe, Hugo), cultural critique (Jameson, de Stael), philosophy (Hamann, Herder), politics (Hazlitt, Guizot), aesthetics (the Schlegel circle), or new original work in other media (Berlioz, Delacroix, Chasseriau). It is writing directed to new modes of creating as well as new modes of understanding.

The year is 1862, and the Civil War rages through the South. On a Virginia tobacco plantation, another kind of battle soon begins.

"A fascinating and gripping novel about the Civil War. The slave, Cassius Howard, is a great fictional character, and his story is part mystery, part love story, and a harrowing portrait of slavery that reads with the immense power of the slave narratives."
--Pat Conroy, author of Beach Music and South of Broad

"David Fuller vividly and movingly describes the life of Cassius, a slave on a Virginia tobacco plantation. Meticulously researched and beautifully written, Sweetsmoke resonates with unforgettable characters, and is a gripping story of loss and survival."
--Robert Hicks, author of The Widow of the South

"Fuller works hard to give us a mid-19th century world that feels authentic, from small details . . . to the larger sprawl of the plantation . . . captivating."
--The New York Times Book Review

"The plot unfolds at a brisk pace, and Fuller does an especially good job with the battle scenes . . . Cassius, who has never drawn a single breath as a free man, is a compelling character from the start. Sweetsmoke is a well-imagined and researched novel of survival and courage."
--Atlanta Journal-Constitution

"Featuring slave traders, smugglers and spies, the novel transports us to a chilling milieu in which human beings are humiliated, and the slaves have a forlorn hope of freedom, decency and dignity . . . Sweetsmoke haunts us long after the final page is turned."
--Tennessean.com

Best known for his two seminal works, The Apostolic Tradition of Saint Hippolytus (1937) and The Shape of the Liturgy (1945), Dom Gregory Dix demonstrated many of the traits of the Tractarians. This work will compare and contrast Dix with the leaders of the Oxford Movement and show that he could be accurately referred to as a Latter-Day Tractarian.

A liturgical study of the Anglican Book of Common Prayer and its creation and amendments during the Protestant Reformation

A selection of sermons for the Christian Year, preached between 2001 and 2011 by Scottish Episcopal Church Licensed Lay Reader, David Fuller

Current norms of literary criticism tend to ignore ways in which literary experiences relate to life experience, and some ways in which literary experiences can be intensified and deepened. In this vibrant and controversial book, David Fuller seeks to recover the life in Shakespeare's sonnets, arguing that feeling and emotion, often ignored in criticism, should be central. He offers two ways of attempting this - first engaging with the poems through kinds of feeling fundamental to the young man sequence as presented in other kinds of writing and art - philosophy (Plato), poetry and visual art (Michelangelo), fiction (Mann), music (Britten), and film (Jarman). He then discusses reading the poems aloud, showing that dwelling in the words without translating them into other terms brings out their beauty and expressivity, and leads to fuller understanding of their form, structure, and meaning.

The year is 1862, and the Civil War rages through the South. On a Virginia tobacco plantation, another kind of battle soon begins. There, Cassius Howard, a skilled carpenter and slave, risks everything--punishment, sale to a cotton plantation, even his life--to learn the truth concerning the murder of Emoline, a freed black woman, a woman who secretly taught him to read and once saved his life. It is clear that no one cares about her death in the midst of a brutal and hellish war. No one but Cassius, who braves horrific dangers to escape the plantation and avenge her loss. As Cassius seeks answers about Emoline's murder, he finds an unexpected friend and ally in Quashee, a new woman brought over from another plantation; and a formidable adversary in Hoke Howard, the master he has always obeyed. With subtlety and beauty, Sweetsmoke captures the daily indignities and harrowing losses suffered by slaves, the turmoil of a country waging countless wars within its own borders, and the lives of those people fighting for identity, for salvation, and for freedom.

This collection reflects on developments in criticism which bear on a debate between different modes of knowledge: a science model and its place in the university versus other ways of conceiving knowledge for which the arts have traditionally been seen as vehicles. Discussion ranges widely with contributions from outside the literary academy, including essays by the novelists Doris Lessing and David Lodge. All the essays are concerned with what literature, and therefore criticism, is or aims to be. Several are concerned with a specifically aesthetic way of knowing, the value of which lies in its very resistance to scientific models of knowledge. The answers about how literature can resist such models, and what kinds of knowing best respond to the distinctive nature of aesthetic experience, are varied. The collection also addresses the consequences for literary criticism of the politically-driven critique which has recently undermined traditional concepts of truth and knowledge in both arts and sciences. And finally it asks whether professional criticism should be a deepened extension of the sense-making activity of ordinary intelligent reading, or whether it should be a purely objective study, analogous to other scientific forms of knowledge studied in an academic context.