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From twice-Kate Greenaway WINNER comes an exquisite story within a
story, featuring a mouse who is forced to tell stories to save his
life, a cat who plans to eat said mouse as soon as the story is
finished, and our protagonist's protagonist, a princess in trouble.
Gorgonzola watched Brie with her tail twitching . . . then she
pounced. Brie the mouse is caught between the claws of Gorgonzola
the cat. Desperate to survive, Brie starts telling Gorgonzola a
story . . . It's a showstopping tale - about a runaway princess, a
cat that can grow to the size of a panther, an enchanted feast, a
vanishing cavern and a quest to find a magical herb . . . But
Gorgonzola is getting hungry . . . If Brie wants his life to be
spared, this must be the best story he has ever told. A dazzling
story within a story that you won't be able to put down and
accompanied with stunning interior art..
A poetic, powerful story about a little brother and a big sister
finding a new home and new hope after being rescued from a boat
lost in the dark sea. A little brother and his big sister try their
best to settle in a new home, where they have nothing left from
before except each other. The little one makes new friends and
quickly learns to laugh again but his sister remains haunted by the
shadows of their past and hides away in their broken house. Trying
to help his sister, the little one catches a butterfly for her and
brings it inside the house. His sister knows that she needs to set
the butterfly free ... but that would mean going outside. In taking
the first steps to face her fears and save the butterfly, she also
begins the process of saving herself.
A poetic, powerful story about a little brother and a big sister
finding a new home and new hope after being rescued from a boat
lost in the dark sea. A little brother and his big sister try their
best to settle in a new home, where they have nothing left from
before except each other. The little one makes new friends and
quickly learns to laugh again but his sister remains haunted by the
shadows of their past and hides away in their broken house. Trying
to help his sister, the little one catches a butterfly for her and
brings it inside the house. His sister knows that she needs to set
the butterfly free ... but that would mean going outside. In taking
the first steps to face her fears and save the butterfly, she also
begins the process of saving herself.
They're your best friends. Lucy and her husband do everything with
their closest friends Cora and Scott. They've even bought a beach
house together to enjoy summers with their kids. They're more than
friends: they're family. They're hiding something. When a colleague
passes around photographs from her honeymoon in the Maldives, Lucy
is shocked to see Scott in one of the pictures, his arm around
another woman. The truth will change everything. Then news breaks
that the woman from the photograph has mysteriously vanished. Why
was Scott there and what is he hiding? As Lucy looks for answers,
her whole life begins to unravel. If the lies start here, where do
they end?
Introduces Skelton and his work to readers unfamiliar with the
poet, gathers together the vibrant strands of existing research,
and opens up new avenues for future studies. John Skelton is a
central literary figure and the leading poet during the first
thirty years of Tudor rule. Nevertheless, he remains challenging
and even contradictory for modern audiences. This book aims to
provide an authoritative guide to this complex poet and his works,
setting him in his historical, religious, and social contexts.
Beginning with an exploration of his life and career, it goes on to
cover all the major aspects of his poetry, from the literary
traditions in which he wrote and the form of his compositions to
the manuscript contexts and later reception. SEBASTIAN SOBECKI is
Professor of Medieval English Literature and Culture at the
University of Groningen; JOHN SCATTERGOOD is Professor (Emeritus)
of Medieval and Renaissance English at Trinity College, Dublin.
Contributors: Tom Betteridge, Julia Boffey, John Burrow, David
Carlson, Helen Cooper, Elisabeth Dutton,A.S.G. Edwards, Jane
Griffiths, Nadine Kuipers, Carol Meale, John Scattergood, Sebastian
Sobecki, Greg Waite
Journalist Helene Cooper examines the violent past of her home
country Liberia and the effects of its 1980 military coup in this
deeply personal memoir and finalist for the 2008 National Book
Critics Circle Award.
Helene Cooper is "Congo," a descendant of two Liberian
dynasties--traced back to the first ship of freemen that set sail
from New York in 1820 to found Monrovia. Helene grew up at Sugar
Beach, a twenty-two-room mansion by the sea. Her childhood was
filled with servants, flashy cars, a villa in Spain, and a
farmhouse up-country. It was also an African childhood, filled with
knock foot games and hot pepper soup, heartmen and neegee. When
Helene was eight, the Coopers took in a foster child--a common
custom among the Liberian elite. Eunice, a Bassa girl, suddenly
became known as "Mrs. Cooper's daughter."
For years the Cooper daughters--Helene, her sister Marlene, and
Eunice--blissfully enjoyed the trappings of wealth and advantage.
But Liberia was like an unwatched pot of water left boiling on the
stove. And on April 12, 1980, a group of soldiers staged a coup
d'etat, assassinating President William Tolbert and executing his
cabinet. The Coopers and the entire Congo class were now the
hunted, being imprisoned, shot, tortured, and raped. After a brutal
daylight attack by a ragtag crew of soldiers, Helene, Marlene, and
their mother fled Sugar Beach, and then Liberia, for America. They
left Eunice behind.
A world away, Helene tried to assimilate as an American teenager.
At the University of North Carolina at Chapel Hill she found her
passion in journalism, eventually becoming a reporter for the "Wall
Street Journal" and the "New York Times." She reported from every
part of the globe--except Africa--as Liberia descended into
war-torn, third-world hell.
In 2003, a near-death experience in Iraq convinced Helene that
Liberia--and Eunice--could wait no longer. At once a deeply
personal memoir and an examination of a violent and stratified
country, "The House at Sugar Beach" tells of tragedy, forgiveness,
and transcendence with unflinching honesty and a survivor's gentle
humor. And at its heart, it is a story of Helene Cooper's long
voyage home.
'An eerie and atmospheric mystery that kept me guessing from start
to finish' Allie Reynolds, author of Shiver One year ago, Leah's
twenty-one-year-old niece, Amy, mysteriously drowned near her
family-owned luxury resort on the shores of Lake Garda. Now,
returning to Italy for the first time since Amy's death, Leah is
shocked to find her family seem to have erased all reminders of
Amy. Despite the murky circumstances, they insist her death was an
accident but Leah knows she must look deeper if she is to uncover
the truth. Meanwhile, in Derby, university counsellor Joanna is
recovering from a surprising break-up when she is swept off her
feet by a handsome bartender. But after she invites him into her
home, Joanna is forced to accept that she doesn't know him as well
as she thought. What follows is a propulsive game of cat-and mouse
as both women begin to realise that appearances can be deceptive -
and that the darkest secrets often lie closest to home.
New essays on aspects of Gower's poetry, viewed through the lens of
the self and beyond. The topics of "selfhood" and "otherness" lie
at the heart of these new assessments of John Gower's poetry. The
first part of the book, on knowing the self and others, focuses on
cognition, brain functions, imagination, and the internal and
external factors that affect one's sense of being, from sensation
and inner emotive effects within body parts to cosmic perspectives,
morality, and theology as voiced by language and storytelling. The
second, on the essence of strangers, explores the interconnections
of sensation and aesthetics; it also considers kinds of social
dysfunction, whether through racial or gender conflict, or
religious and political warfare.The final part of the booklooks at
social ethics and ethical poets, reassessing two of Gower's
perpetual concerns: honest government and honest craft. It
considers Gower as a constitutional thinker, whether in terms of
law, judicial corruption, or a society of businessmen who would
rewrite ethics in terms of business models. It concludes with an
examination of the Confessio in the culture of Portugal and Spain.
Russell Peck is the John Hall Deane Professor of English at the
University of Rochester: R. F. Yeager is Professor of English at
the University of West Florida. Contributors: Stephanie L. Batkie,
Helen Cooper, Brian W. Gastle, Matthew Giancarlo, Matthew W. Irvin,
Yoshiko Kobayashi, Robert J. Meindl, Peter Nicholson, Maura Nolan,
Gabrielle Parkin, Russell A. Peck, Ana Saez-Hidalgo, Larry Scanlon,
Karla Taylor, Kim Zarins, R.F. Yeager,
Two crucial genres of medieval literature are studied in this
outstanding collection. The essays in this volume honour the
distinguished career of Professor Elizabeth Archibald. They explore
two areas that her scholarship has done so much to illuminate:
medieval romance, and Arthurian literature. Several chapters
examine individual romances, including Emare, Sir Gawain and the
Green Knight and the Roman de Silence. Others focus on wider
concerns in romances and related works in Middle English, Latin,
French, German and Icelandic, from a variety of perspectives. Later
chapters consider Arthurian material, with a particular emphasis on
hitherto unexamined aspects of Malory's Morte Darthur. It thus,
fittingly, reflects the range of linguistic and literary expertise
that Professor Archibald has brought to these fields.
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Chaucer and Religion (Hardcover)
Helen Phillips; Contributions by Alcuin Blamires, Anthony Bale, Carl Phelpstead, D. Thomas Hanks Jr, …
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R2,183
Discovery Miles 21 830
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Ships in 12 - 17 working days
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New essays on Chaucer's engagement with religion and the religious
controversies of the fourteenth century. How do critics, religious
scholars and historians in the early twenty-first century view
Chaucer's relationship to religion? And how can he be taught and
studied in an increasingly secular and multi-cultural environment?
The essays here, on [the Canterbury Tales, Troilus and Criseyde,
lyrics and dream poems, aim to provide an orientation on the study
of the the religions, the religious traditions and the religious
controversies of his era - and to offer new perspectives upon them.
Using a variety of theoretical, critical and historical approaches,
they deal with topics that include Chaucer in relation to lollardy,
devotion to the saint and the Virgin Mary, Judaism andIslam, and
the Bible; attitudes towards sex, marriage and love; ethics, both
Christian and secular; ideas on death and the Judgement; Chaucer's
handling of religious genres such as hagiography and miracles, as
well as other literary traditions - romance, ballade, dream poetry,
fablliaux and the middle ages' classical inheritance - which pose
challenges to religious world views. These are complemented by
discussion of a range of issues related to teachingChaucer in
Britain and America today, drawn from practical experience.
Contributors: Anthony Bale, Alcuin Blamires, Laurel Broughton,
Helen Cooper, Graham D. Caie, Roger Dalrymple, Dee Dyas, D. Thomas
Hanks Jr., Stephen Knight, Carl Phelpstead, Helen Phillips, David
Raybin, Sherry Reames, Jill Rudd.
Analysis of how emotion is pictured in Arthurian legend. Literary
texts complicate our understanding of medieval emotions; they not
only represent characters experiencing emotion and reaction
emotionally to the behaviour of others within the text, but also
evoke and play upon emotion inthe audiences which heard these texts
performed or read. The presentation and depiction of emotion in the
single most prominent and influential story matter of the Middle
Ages, the Arthurian legend, is the subject of this volume.Covering
texts written in English, French, Dutch, German, Latin and
Norwegian, the essays presented here explore notions of embodiment,
the affective quality of the construction of mind, and the
intermediary role of the voice asboth an embodied and consciously
articulating emotion. FRANK BRANDSMA teaches Comparative Literature
(Middle Ages) at Utrecht University; CAROLYNE LARRINGTON is
Professor of Medieval European Literature at the University of
Oxford and Official Fellow in Medieval English Literature at St
John's College, Oxford; CORINNE SAUNDERS is Professor of Medieval
Literature in the Department of English Studies and Co-Director of
the Centre for Medical Humanities at the University of Durham.
Contributors: Anne Baden-Daintree, Frank Brandsma, Helen Cooper,
Anatole Pierre Fuksas, Jane Gilbert, Carolyne Larrington, Andrew
Lynch, Raluca Radulescu, Sif Rikhardsdottir, Corinne Saunders.
'The unrelenting tension of this well-crafted debut kept me
whizzing through the book . . . I loved the tension, the secrets
and the satisfying, unexpected conclusion' KL Slater In a converted
Georgian townhouse in south west London, three families live under
one roof. The large flat that takes up the top two floors is home
to the Harlow family: happily married Paul and Steph, and their
bubbly teenage daughter Freya. The smaller first floor flat is
rented by Emma, who spends most of her time alone, listening to
people coming in and out of the building. And the basement flat
belongs to Chris, a local driving instructor, who prefers to keep
his personal life private from the neighbours. But their lives are
all upended when Freya vanishes. As the police become involved and
a frantic Paul and Steph desperately search for answers, they begin
to realise that the truth behind their daughter's disappearance may
lie closer to home than they were expecting. When everyone has
something to hide, can you ever really know those closest to you?
Or will some secrets be taken to the grave?
By the Kate Greenaway Medalist Deep in the woods in an old white
cabin, three friends make their pumpkin soup the same way every
day. The Cat slices up the pumpkin, the Squirrel stirs in the
water, and the Duck tips in just enough salt. But one day the Duck
wants to stir instead, and then there is a horrible squabble, and
he leaves the cabin in a huff. It isn't long before the Cat and the
Squirrel start to worry about him and begin a search for their
friend. Rendered in pictures richly evoking autumn, Helen Cooper's
delightful story will resonate for an child who has known the
difficulties that come with friendship. Included at the end is a
recipe for delicious pumpkin soup.
New approaches to this most fluid of medieval genres, considering
in particular its reception and transmission. Romance was the most
popular secular literature of the Middle Ages, and has been
understood most productively as a genre that continually
refashioned itself. The essays collected in this volume explore the
subject of translation, both linguistic and cultural, in relation
to the composition, reception, and dissemination of romance across
the languages of late medieval Britain, Ireland, and Iceland. In
taking this multilingual approach, this volume proposes a
re-centring, and extension, of our understanding of the corpus of
medieval Insular romance, which although long considered
extra-canonical, has over the previous decades acquired something
approaching its own canon - a canon which we might now begin to
unsettle, and of which we might ask new questions. The topics of
the essays gathered here range from Dafydd ap Gwilym and Walter Map
to Melusine and English Trojan narratives, and address topics from
women and merchants to werewolves and marvels. Together, they
position the study of romance in translation in relation to
cross-border and cross-linguistic transmission and reception; and
alongside the generic re-imaginings of romance, both early and
late, that implicate romance in new linguistic, cultural, and
social networks. The volume also shows how, even where linguistic
translation is not involved, we can understand the ways in which
romance moved across cultural and social boundaries and
incorporated elements of different genres into its own capacious
and malleable frame as types of translatio - in terms of learning,
or power, or both.
Essays examining the genre of medieval romance in its cultural
Christian context, bringing out its chameleon-like character. The
relationship between the Christianity of medieval culture and its
most characteristic narrative, the romance, is complex and the
modern reading of it is too often confused. Not only can it be
difficult to negotiate the distant, sometimes alien concepts of
religious cultures of past centuries in a modern, secular,
multi-cultural society, but there is no straightforward Christian
context of Middle English romance - or of medieval romance in
general, although this volume focuses on the romances of England.
Medieval audiences had apparently very different expectations and
demands of their entertainment: some looking for, and evidently
finding, moral exempla and analogues of biblical narratives, others
secular, even sensational, entertainment of a type condemned by
moralising voices. The essays collected here show how the romances
of medieval England engage with its Christian culture. Topics
include the handling of material from pre-Christian cultures,
classical and Celtic, the effect of the Crusades, the meaning of
chivalry, and the place of women in pious romances. Case studies,
including Sir Gawain and the Green Knight and Malory's Morte
Darthur, offer new readings and ideas for teaching romance to
contemporary students. They do not present a single view of a
complex situation, but demonstrate the importance of reading
romances with anawareness of the knowledge and cultural capital
represented by Christianity for its original writers and audiences.
Contributors: HELEN PHILLIPS, STEPHEN KNIGHT, PHILLIPA HARDMAN,
MARIANNE AILES, RALUCA L. RADULESCU, CORINNE SAUNDERS, K.S.
WHETTER, ANDREA HOPKINS, ROSALIND FIELD, DEREK BREWER, D. THOMAS
HANKS, MICHELLE SWEENEY
The definitive English version of the stories of King Arthur, Le
Morte Darthur was completed in 1469-70 by Sir Thomas Malory,
`knight-prisoner'. In a resonant prose style, Malory charts the
tragic disintegration of the fellowship of the Round Table,
destroyed from within by warring factions. Recounting the life of
King Arthur, the knightly exploits of Sir Lancelot du Lake, Sir
Tristram, Sir Gawain, and the quest for the Holy Grail, Le Morte
Darthur depicts the contradictions that underscore the Fellowship's
chivalric ideals. A pervading tension cumulates in the revelation
of Lancelot and Guenivere's illicit passion, and in Arthur's
powerlessness to prevent a related outbreak of violence and
revenge. This generously annotated edition is based on the
authoritative Winchester manuscript and represents what Malory
wrote more closely than the first version printed by William
Caxton. Intelligently abridged from the original to make a single
substantial volume, the translation is supplemented by a fine
Introduction, a Glossary, and extensive Notes ABOUT THE SERIES: For
over 100 years Oxford World's Classics has made available the
widest range of literature from around the globe. Each affordable
volume reflects Oxford's commitment to scholarship, providing the
most accurate text plus a wealth of other valuable features,
including expert introductions by leading authorities, helpful
notes to clarify the text, up-to-date bibliographies for further
study, and much more.
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Chaucer and the City (Hardcover)
Ardis Butterfield; Contributions by Ardis Butterfield, Barbara Nolan, C. David Benson, Christopher Cannon, …
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R2,184
Discovery Miles 21 840
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Ships in 12 - 17 working days
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Essays exploring Chaucer's identity as a London poet and the urban
context for his writings. Literature of the city and the city in
literature are topics of major contemporary interest. This volume
enhances our understanding of Chaucer's iconic role as a London
poet, defining the modern sense of London as a city in history,
steeped in its medieval past. Building on recent work by historians
on medieval London, as well as modern urban theory, the essays
address the centrality of the city in Chaucer's work, and of
Chaucer to a literature and a language of the city. Contributors
explore the spatial extent of the city, imaginatively and
geographically; the diverse and sometimes violent relationships
between communities, and the use of language to identify and speak
for communities; the worlds of commerce, the aristocracy, law, and
public order. A final section considers the longer history and
memory of the medieval city beyond the devastations of the Great
Fire and into the Victorian period. Dr ARDIS BUTTERFIELD is Reader
in English at University College London. Contributors: ARDIS
BUTTERFIELD, MARION TURNER, RUTH EVANS, BARBARA NOLAN, CHRISTOPHER
CANNON, DEREK PEARSALL, HELEN COOPER, C. DAVID BENSON,
ELLIOTKENDALL, JOHN SCATTERGOOD, PAUL DAVIS, HELEN PHILLIPS
Analysis of how emotion is pictured in Arthurian legend. Literary
texts complicate our understanding of medieval emotions; they not
only represent characters experiencing emotion and reaction
emotionally to the behaviour of others within the text, but also
evoke and play upon emotion inthe audiences which heard these texts
performed or read. The presentation and depiction of emotion in the
single most prominent and influential story matter of the Middle
Ages, the Arthurian legend, is the subject of this volume.Covering
texts written in English, French, Dutch, German, Latin and
Norwegian, the essays presented here explore notions of embodiment,
the affective quality of the construction of mind, and the
intermediary role of the voice asboth an embodied and consciously
articulating emotion. Frank Brandsma teaches Comparative Literature
(Middle Ages) at Utrecht University; Carolyne Larrington is a
Fellow in medieval English at St John's College, Oxford;Corinne
Saunders is Professor of Medieval Literature in the Department of
English Studies and Co-Director of the Centre for Medical
Humanities at the University of Durham. Contributors: Anne
Baden-Daintree, Frank Brandsma, Helen Cooper, Anatole Pierre
Fuksas, Jane Gilbert, Carolyne Larrington, Andrew Lynch, Raluca
Radulescu, Sif Rikhardsdottir, Corinne Saunders,
'The finest translation in and for our time' (Kevin
Crossley-Holland) Sir Gawain and The Green Knight, with its
intricate plot of enchantment and betrayal is probably the most
skilfully told story in the whole of the English Arthurian cycle.
Originating from the north-west midlands of England, it is based on
two separate and very ancient Celtic motifs of the Beheading and
the Exchange of Winnings, brought together by the anonymous 14th
century poet. His telling comprehends a great variety of moods and
modes - from the stark realism of the hunt-scenes to the delicious
and dangerous bedroom encounters between Lady Bercilak and Gawain,
from moments of pure lyric beauty when he evokes the English
countryside in all its seasons, to authorial asides that are full
of irony and puckish humour. This new verse translation uses a
modern alliterative pattern which subtly echoes the music of the
original at the same time as it strives for fidelity. ABOUT THE
SERIES: For over 100 years Oxford World's Classics has made
available the widest range of literature from around the globe.
Each affordable volume reflects Oxford's commitment to scholarship,
providing the most accurate text plus a wealth of other valuable
features, including expert introductions by leading authorities,
helpful notes to clarify the text, up-to-date bibliographies for
further study, and much more.
'An eerie and atmospheric mystery that kept me guessing from start
to finish' Allie Reynolds, author of Shiver One year ago, Leah's
twenty-one-year-old niece, Amy, mysteriously drowned near her
family-owned luxury resort on the shores of Lake Garda. Now,
returning to Italy for the first time since Amy's death, Leah is
shocked to find her family seem to have erased all reminders of
Amy. Despite the murky circumstances, they insist her death was an
accident but Leah knows she must look deeper if she is to uncover
the truth. Meanwhile, in Derby, university counsellor Joanna is
recovering from a surprising break-up when she is swept off her
feet by a handsome bartender. But after she invites him into her
home, Joanna is forced to accept that she doesn't know him as well
as she thought. What follows is a propulsive game of cat-and mouse
as both women begin to realise that appearances can be deceptive -
and that the darkest secrets often lie closest to home.
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A Companion to Gower (Paperback)
Sian Echard; Contributions by A.G. Rigg, Ardis Butterfield, Derek Pearsall, Diane Watt, …
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R966
R886
Discovery Miles 8 860
Save R80 (8%)
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Ships in 10 - 15 working days
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An introduction to Gower and his work, focusing on his sources,
historical context and literary tradition; special attention is
paid to Confessio Amantis. Chaucer, Gower and Lydgate were the
three poets of their time considered to have founded the English
poetic tradition. Gower, like Lydgate, eventually fell victim to
changing tastes but is now enjoying renewed scholarly
attention.Current work in manuscript studies, linguistic studies,
vernacularity, translation, politics, and the contexts of literary
production has found a rich source in Gower's trilingual, learned,
and politically engaged corpus. This Companion to Gower offers
essays by scholars from Britain and North America, covering Gower's
works in all three of his languages; they consider his
relationships to his literary sources, and to his social, material
and historical contexts; and they offer an overview of the
manuscript, linguistic, and editorial traditions. Five essays
concentrate specifically on the Confessio Amantis, Gower's major
Middle English work, reading it in terms of its relationship to
vernacular and classical models, its poetic style, and its
treatment of such themes as politics, kingship, gender, sexuality,
authority, authorship and self-governance. A reference
bibliography, arranged as a chronologyof criticism, concludes the
volume. Contributors J.A. BURROW, ARDIS BUTTERFIELD, NATHALIE
COHEN, E.H. COOPER, SIAN ECHARD, ROBERT EPSTEIN, JOHN HINES, EDWARD
MOORE, DEREK PEARSALL, RUSSELL PECK, A.G. RIGG, SIMON ROFFEY,
JEREMY J. SMITH, DIANE WATT, WINTHROP WETHERBEE, ROBERT F. YEAGER.
SIAN ECHARD is associate professor, Department of English,
University of British Columbia. The Companion can serve as an
introduction to Gower and his works for the advanced undergraduate
or graduate student, and the essays will also be of interest to
experts in Middle English studies and in Gower.
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