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.

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.

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.

Often considered her best work, and one of the best-known American poems, the long poem "Renascence" is credited with introducing Edna St. Vincent Millay to a the broader world. Celebrated for their lyrical transcendence, Millay's poems convey fiery romance and an invigorating spirit that are hallmarks of her writing. Published as the inaugural title in Down East Books Maine Standards series, this volume brings the classic "Renascence" and two dozen other poems back to contemporary readers.

Nationalism is a globally resurgent phenomenon. From Britain to India and the United States of America, we find nations vociferously reasserting their own sovereignty, ethnic composition, and intrinsic superiority. Thomas J. Millay demonstrates how Kierkegaard's ascetic voice speaks directly to our present crisis.Kierkegaard and the New Nationalism: A Contemporary Reinterpretation of the Attack upon Christendom analyzes the late writings of Kierkegaard in light of this new relevance, for Kierkegaard's attack upon Christendom is also an attack upon nationalism. For Kierkegaard, taking on nationalism is not simply a matter of undermining false identity constructions. Attacking nationalism is a matter of renunciation: it requires ascetic discipline, such that the selfish motives at the core of one's identity construction are uprooted and replaced by a self-giving love marked by the willingness to suffer.

A magnificent anthology of the finest works of Edna St. Vincent Millay, perhaps the premier American lyricist of the twentieth century. --This text refers to an alternate paperback edition.

The most important work by a key figure in German thought, Helmuth Plessner's Levels of Organic Life and the Human, originally published in 1928, appears here for the first time in English, accompanied by a substantial Introduction by J. M. Bernstein, after having served for decades as an influence on thinkers as diverse as Merleau-Ponty, Peter Berger, Habermas, and the new naturalists. The Levels, as it has long been known, draws on phenomenological, biological, and social scientific sources as part of a systematic account of nature, life, and human existence. The book considers non-living nature, plants, non-human animals, and human beings in turn as a sequence of increasingly complex modes of boundary dynamics-simply put, interactions between a thing's insides and surrounding world. On Plessner's unique account, living things are classed and analyzed by their "positionality," or orientation to and within an environment. "Life" is thereby phenomenologically defined, and its universal yet internally variable features such as metabolism, reproduction, and death are explained. The approach provides a foundation not only for philosophical biology but philosophical anthropology as well. According to Plessner's radical view, the human form of life is excentric-that is, the relation between body and environment is something to which humans themselves are positioned and can take a position. This "excentric positionality" enables human beings to take a stand outside the boundaries of their own body, a possibility with significant implications for knowledge, culture, religion, and technology. Plessner studied zoology and philosophy with Hans Driesch in the 1910s before embarking on a highly productive philosophical career. His work was initially obscured by the superficially similar views of Max Scheler and Martin Heidegger and by his forced exile during World War II. Only in recent decades, as scholarship has moved more squarely into engagement with issues like animality, embodiment, human dignity, social theory, the philosophy of technology, and the philosophy of nature, has the originality and depth of Plessner's vision been appreciated. A powerful and sophisticated account of embodiment, the Levels shows, with reference both to science and to philosophy, how life can be seen on its own terms to establish its own boundaries, and how, from the standpoint of life, the human establishes itself in relation to the nonhuman. As such, the book is not merely a historical monument but a source for invigorating a range of vital current conversations around the animal, posthumanism, the material turn, and the biology and sociology of cognition. This modern philosophical classic, long-awaited in English translation, is a key book both historically and for today's interest in understanding philosophy and social theory together with science, without reducing the former to the latter.

One of America’s most celebrated poets—and winner of the Pulitzer Prize in 1923—Edna St. Vincent Millay defined a generation with her passionate lyrics and intoxicating voice of liberation. Edited by Millay biographer Nancy Milford, this Modern Library Paperback Classics collection captures the poet’s unique spirit in works like Renascence and Other Poems, A Few Figs from This-tles, and Second April, as well as in “The Ballad of the Harp-Weaver” and eight sonnets from the early twenties. As Milford writes in her Introduction, “These are the poems that made Edna St. Vincent Millay’s reputation when she was young. Saucy, insolent, flip, and defiant, her little verses sting the page.”

The Abased Christ is the first monograph to be devoted exclusively to Soren Kierkegaard's Christological masterpiece, Practice in Christianity. Alongside an argument for a new translation of the work's title, it offers detailed textual commentary on a series of themes in Practice in Christianity, such as the person of Christ, contemporaneity, imitation, and Kierkegaard's philosophy of history. Anti-Climacus, the pseudonymous author of Practice in Christianity, presents to his readers a uniquely challenging understanding of who Christ is and what it means to follow him. The Christ of Anti-Climacus is not the glorious Christ who abides with the Father in heaven, but the abased Christ who is poor, marginal, offensive, and persecuted. Throughout Practice in Christianity, we are called not only to perceive the abased Christ, but to follow after him. The Abased Christ aims to enrich historical theologians' appreciation of Kierkegaard's Christology. However, it concludes by grappling with questions of power, agency, and sacrifice which have been at the forefront of contemporary theology in the 20th and 21st centuries, thereby suggesting how we might make sense of Kierkegaard's Christology today.

Edna St. Vincent Millay (1892-1950), winner in 1923 of the second annual Pulitzer Prize for Poetry, was a daring, versatile writer whose work includes plays, essays, short stories, songs, and the libretto to an opera that premiered at New York's Metropolitan Opera House to rave reviews.

Millay infused new life into traditional poetic forms, bringing new hope to a generation of youth disillusioned by the political and social upheaval of the First World War. She ventured fearlessly beyond familiar poetic subjects to tackle political injustice, social discrimination, and women's sexuality in her poems and prose. In the 1920s and '30s, Millay was considered a spokesperson for personal freedom in America, particularly for women, and we turn to her lines to illuminate the social history of the period and the Bohemian lifestyle she and her friends enjoyed.

Yet Millay's poetry is still decisively modern in its message, and it continues to resonate with readers facing personal and moral issues that defy the test of time: romantic love, loss, betrayal, compassion for one another, social equality, patriotism, and the stewardship of the natural world.

Collected Poems features Millay's incisive and impassioned lyric poetry and sonnets, many of which are considered among the finest in the language, as well as the poet's last volume, Mine the Harvest, compiled and published in 1956 by her sister Norma Millay.

This is a one-stop book for knowing everything important about building structures. Self-contained and with no prerequisites needed, it is suitable for both general readers and building professionals. follow the history of structural understanding; grasp the concepts of structural behaviour via step-by-step explanations; apply these concepts to a simple building; see how these concepts apply to real buildings, from Durham Cathedral to the Bank of China; use these concepts to define the design process; see how these concepts inform design choices; understand how engineering and architecture have diverged, and what effect this had; learn to do simple but relevant numerical calculations for actual structures; understand when dynamics are important; follow the development of progressive collapse prevention; enter the world of modern structural theory; see how computers can be used for structural analysis; learn how to organise and design a successful project. With more than 500 pages and over 1100 user-friendly diagrams, this book is a must for anyone who would like to understand the fascinating world of structures.

I live in a world without magic or miracles. A place where there are no clairvoyants or shapeshifters, no angels or superhuman boys to save you. A place where people die and music disintegrates and things suck. I am pressed so hard against the earth by the weight of reality that some days I wonder how I am still able to lift my feet to walk. Former piano prodigy Nastya Kashnikov wants two things: to get through high school without anyone learning about her past and to make the boy who took everything from her-her identity, her spirit, her will to live-pay. All Josh Bennett wants is to be left alone, and everyone allows it because they all know his story: each person he loved was taken from his life until at seventeen years old there was no one left. When your name is synonymous with death, people tend to give you your space. Everyone except Nastya, a new girl in town who won't go away until she's insinuated herself into every aspect of his life. But the more he gets to know her, the more of a mystery she becomes. As their relationship intensifies and the unanswered questions begin to pile up, he starts to wonder if he will ever learn the secrets she's been hiding--or if he even wants to. The Sea of Tranquility is a rich, intense, and brilliantly imagined story about a lonely boy, an emotionally fragile girl, and the miracle of second chances. For fans of Perks of Being a Wallflower.

This is a one-stop book for knowing everything important about building structures. Self-contained and with no prerequisites needed, it is suitable for both general readers and building professionals. follow the history of structural understanding; grasp the concepts of structural behaviour via step-by-step explanations; apply these concepts to a simple building; see how these concepts apply to real buildings, from Durham Cathedral to the Bank of China; use these concepts to define the design process; see how these concepts inform design choices; understand how engineering and architecture have diverged, and what effect this had; learn to do simple but relevant numerical calculations for actual structures; understand when dynamics are important; follow the development of progressive collapse prevention; enter the world of modern structural theory; see how computers can be used for structural analysis; learn how to organise and design a successful project. With more than 500 pages and over 1100 user-friendly diagrams, this book is a must for anyone who would like to understand the fascinating world of structures.

Edna St Vincent Millay (1892-1950) was one of the most popular American writers of her generation, and the first woman to win the Pulitzer Prize for Poetry. Thomas Hardy once remarked that America had only two great wonders to show the world: skyscrapers, and the poetry of Edna St Vincent Millay. Poems and Satires restores that wonder to view, while also revealing Millay as a more innovative and versatile talent than she is usually given credit for being. It includes some of her wickedly funny satires (published under the pseudonym Nancy Boyd, out of print since 1924), as well as her acclaimed play Aria da Capo, and reveals her to be not only the defining 'flapper' poet of the 1920s but a crucial voice for the 2020s. The 'fierce and trivial' persona she cultivated in her early lyric poems and sonnets - with their dazzling wit and daring attitudes towards love and sexuality - captured the whirl of bohemian life in New York. In her genre-defying satires, she questioned society's treatment of women and artists in surreal stories and plays, non-fiction and spoof agony aunt letters, and even a Handmaid's Tale-esque dystopia disguised as an almanac from the future.

Reprinted for the first time since 1889, this is the first biography and considered appraisal of one of England's most prodigiously talented painters. Sir John Everett Millais, P. R. A. (1829-1896) was the most precociously talented artist England has ever produced. His astonishing facility gained him entry as the Royal Academy's youngest ever pupil. At just 19 he founded with six other painters the Pre-Raphaelite Brotherhood, which revolutionized the English art world with a visionary intensity of both subject matter and style. Millais was its most creative member; as Jason Rosenfeld says in the introduction to this volume, "the sheer quality and distinctness of each of Millais's paintings of the 1850s is unmatched by any Western artist of the period." Yet there is much more to Millais' career than Pre-Raphaelitism. Some of the most emotive narrative paintings of the Victorian era, its greatest portraits, and especially some of its most beautiful, if neglected, landscapes, came from his brush--as did some of its most notoriously successful paintings, like "Bubbles," the "fancy picture" that was made into an advertisement for Pears' Soap. This volume includes not only Millais's only published work of art criticism, the pithy "Thoughts on Our Art of Today," but also the first extended biography and appraisal of his work by the important critic M. H. Spielmann. This hugely engaging "Sketch "gives both a warm and personal picture of the man and a level-headed evaluation of the qualities--and defects--of his work as they appeared to contemporaries. Neither essay has been in print for more than a century.

The most important work by a key figure in German thought, Helmuth Plessner's Levels of Organic Life and the Human, originally published in 1928, appears here for the first time in English, accompanied by a substantial Introduction by J. M. Bernstein, after having served for decades as an influence on thinkers as diverse as Merleau-Ponty, Peter Berger, Habermas, and the new naturalists. The Levels, as it has long been known, draws on phenomenological, biological, and social scientific sources as part of a systematic account of nature, life, and human existence. The book considers non-living nature, plants, non-human animals, and human beings in turn as a sequence of increasingly complex modes of boundary dynamics-simply put, interactions between a thing's insides and surrounding world. On Plessner's unique account, living things are classed and analyzed by their "positionality," or orientation to and within an environment. "Life" is thereby phenomenologically defined, and its universal yet internally variable features such as metabolism, reproduction, and death are explained. The approach provides a foundation not only for philosophical biology but philosophical anthropology as well. According to Plessner's radical view, the human form of life is excentric-that is, the relation between body and environment is something to which humans themselves are positioned and can take a position. This "excentric positionality" enables human beings to take a stand outside the boundaries of their own body, a possibility with significant implications for knowledge, culture, religion, and technology. Plessner studied zoology and philosophy with Hans Driesch in the 1910s before embarking on a highly productive philosophical career. His work was initially obscured by the superficially similar views of Max Scheler and Martin Heidegger and by his forced exile during World War II. Only in recent decades, as scholarship has moved more squarely into engagement with issues like animality, embodiment, human dignity, social theory, the philosophy of technology, and the philosophy of nature, has the originality and depth of Plessner's vision been appreciated. A powerful and sophisticated account of embodiment, the Levels shows, with reference both to science and to philosophy, how life can be seen on its own terms to establish its own boundaries, and how, from the standpoint of life, the human establishes itself in relation to the nonhuman. As such, the book is not merely a historical monument but a source for invigorating a range of vital current conversations around the animal, posthumanism, the material turn, and the biology and sociology of cognition. This modern philosophical classic, long-awaited in English translation, is a key book both historically and for today's interest in understanding philosophy and social theory together with science, without reducing the former to the latter.

Praised by poets and critics ranging from A. E. Housman and Thomas Hardy to Edmund Wilson, Edna St. Vincent Millay's bold, exquisite poems take their place among the enduring verse of the twentieth century. Claiming a lyric tradition stretching back to Sappho and Catullus and making it very much her own, Millay won over her contemporaries and readers ever since with her passion, erotic candor, formal elegance, and often mischievous wit. J. D. McClatchy's introduction and selections offer new and surprising insights into Millay's achievement. Included are her most beloved and justly admired poems, such as the wry bohemian anthem "Recuerdo" and the sonnet sequence"Fatal Interview," the poetic record of a love affair that is presented in its entirety. McClatchy has also chosen works that extend our sense of Millay's range: translations, her play"Aria da Capo," and excerpts from her libretto"The King's Henchman." "I have for the most part been guided by my taste for Millay at her tautest and truest," writes McClatchy. "There are precise and resonant images everywhere."