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122 matches in All Departments
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
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Twenty Lives
Cornelius Nepos, John Edmund Barss
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R919
Discovery Miles 9 190
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Ships in 12 - 17 working days
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We live together under the thick canopy, each searching for the
other; the same leeches and mosquitoes that feed on our blood feed
on his blood. John Edmund Delezen felt a kinship with the people he
was instructed to kill in Vietnam; they were all at the mercy of
the land. His memoir begins when he enlisted in the Marine Corps
and was sent to Vietnam in March of 1967. He volunteered for the
Third Force Recon Company, whose job it was to locate and
infiltrate enemy lines undetected and map their locations and learn
details of their status. The duty was often painful both physically
and mentally. He was stricken with malaria in November of 1967,
wounded by a grenade in February of 1968 and hit by a bullet later
that summer. He remained in Vietnam until December, 1968. Delezen
writes of Vietnam as a man humbled by a mysterious country and
horrified by acts of brutality. The land was his enemy as much as
the Vietnamese soldiers. He vividly describes the three-canopy
jungle with birds and monkeys overhead that could be heard but not
seen, venomous snakes hiding in trees and relentless bugs that fed
on men. He recalls stumbling onto a pit of rotting Vietnamese
bodies left behind by American forces, and days when fierce hunger
made a bag of plasma seem like an enticing meal. He writes of his
fallen comrades and the images of war that still pervade his
dreams. This book contains many photographs of American Marines and
Vietnam as well as three maps.
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Four Major Plays (Paperback)
Federico Garcia Lorca; Edited by Nicholas Round; Translated by John Edmunds; Notes by Ann MacLaren
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R270
R220
Discovery Miles 2 200
Save R50 (19%)
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Ships in 9 - 15 working days
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`I have made a terrible discovery ... I have not yet been born ...
I live off borrowed substance; what I have within me is not mine.'
In his four last plays Federico Garcia Lorca offered his disturbed
and disturbing personal vision to Spanish audiences of the 1930s -
unready, as he thought them, for the sexual frankness and surreal
expression of his more experimental work. The ill-fated lovers of
Blood Wedding, the desolate Yerma, the fading spinster Rosita, and
Bernarda Alba's abused household of women all inhabit a familiar
Andalusia. Their predicaments are starkly plotted, with a
stagecraft rooted in classical theatrical tradition. In such
figures Lorca addresses the cultural and political ferment of his
time with a fiercely libertarian assault on 'old and wrong
moralities', fusing the personal and the political through his
virtuoso mastery of images. Yet all that mastery can barely keep at
bay the anguished contradictions of these doomed human lives. Hence
the authentic sense of danger - the duende, to use his own word of
Lorca's theatre, finely conveyed here in John Edmunds's fluent and
rhythmic new translations that lend themselves admirably to
performance. 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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