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.

What do biologists study when they study "life" today? Drawing on tools from rhetoric and poststructuralist theory, the author argues that the ascent of molecular biology, with its emphasis on molecules such as DNA rather than organisms, was enabled by crucial rhetorical "softwares." Metaphors such as the genetic "code" made possible a transformation of the very concept of life, a transformation that often casts organisms as information systems.
With careful readings of key texts from the history of molecular biology--such as those of Erwin Schrodinger, George Gamow, Jacques Monod, and Francois Jacob--the author maps out the complex relations between the practices of rhetoric and the technoscientific triumphs they accompanied, triumphs that bolstered a "postvital" biology that increasingly elides and questions the boundary between organisms and machines.
There have been many popular books, and a few academic ones, on the Human Genome Initiatives. "On Beyond Living" is a genealogy of these initiatives, a map of how we have come to equate human beings with "information." Melding contemporary theory with scientific discourse, it is certain to provoke discussion (and controversy) in the fields of cultural studies, theory, and science with its penetrating inquiries into the relations between rhetoric and technoscience.

What do biologists study when they study "life" today? Drawing on tools from rhetoric and poststructuralist theory, the author argues that the ascent of molecular biology, with its emphasis on molecules such as DNA rather than organisms, was enabled by crucial rhetorical "softwares." Metaphors such as the genetic "code" made possible a transformation of the very concept of life, a transformation that often casts organisms as information systems.
With careful readings of key texts from the history of molecular biology--such as those of Erwin Schrodinger, George Gamow, Jacques Monod, and Francois Jacob--the author maps out the complex relations between the practices of rhetoric and the technoscientific triumphs they accompanied, triumphs that bolstered a "postvital" biology that increasingly elides and questions the boundary between organisms and machines.
There have been many popular books, and a few academic ones, on the Human Genome Initiatives. "On Beyond Living" is a genealogy of these initiatives, a map of how we have come to equate human beings with "information." Melding contemporary theory with scientific discourse, it is certain to provoke discussion (and controversy) in the fields of cultural studies, theory, and science with its penetrating inquiries into the relations between rhetoric and technoscience.

Victorian artist Richard Doyle (1824-1883) is famous for his charming illustrations of elves, fairies, and gnomes. For this coloring book, Marty Noble has skillfully adapted 29 of the English's artist's most delightful watercolors created for his book with Andrew Lang, "The Princess Nobody--A Tale of Fairyland. Now colorists and fairyland devotees can apply their own hues to enchanting scenes of fairies and elves at play, a mini-sized prince wooing a petite princess, mischievous sprites vexing a butterfly, and much more. Captions accompany each illustration. Dover Original. 29 black-and-white illustrations. Captions. 4 full-color illustrations on covers.

With illustrations by Edward Landseer, Daniel Maclise, Clarkson Stanfield, Frank Stone, Richard Doyle, John Leech and John Tenniel, and with a new Introduction by Cedric Watts, Research Professor of English, University of Sussex. In these five long stories, written specifically for Christmas, Dickens combines his concern for social ills with the myths and memories of childhood and traditional seasonal lore. A Christmas Carol, the first of the selection, has become a touchstone of English festive fiction and an enduring favourite internationally. Repeatedly adapted, parodied, staged and filmed, this richly influential tale is powerfully vivid and moving. The other stories, The Chimes, The Cricket on the Hearth, The Battle of Life and The Haunted Man, blend whimsy, sentiment, comedy, satire, the didactic and the fantastic, developing resourcefully the theme of individual and social regeneration.

"Scott's collection of illustrated letters from the hand of Richard Doyle, the fascinating but neglected contributor to Punch magazine, are a goldmine. Accompanied by an excellent editorial apparatus, the letters provide a revealing glimpse into the lives of a Victorian family steeped in the arts in the early 1840s." -Bernard Lightman, York UniversityBefore he joined the staff of Punch and designed its iconic front cover, illustrator Richard "Dicky" Doyle was a young man whose father (political caricaturist John Doyle) charged him with sending a weekly letter, even though they lived under the same roof. This volume collects the fifty-three illustrated missives in their entirety for the first time and provides an uncommon peek into the intimate but expansive observations of a precocious social commentator and artist. In a series of vivid manuscript canvases, Doyle observes Victorian customs and society. He visits operas, plays, and parades. He watches the queen visiting the House of Commons and witnesses the state funeral of the Duke of Sussex. He is caught up in the Chartist riots of August 1842 and is robbed during one of the melees. And he provides countless illustrations of ordinary people strolling in the streets and swarming the parks and picture galleries of the metropolis. The sketches offer a fresh perspective on major social and cultural events of London during the early 1840s by a keen observer not yet twenty years old. Doyle's epistles anticipate the modern comic strip and the graphic novel, especially in their experimentation with sequential narrative and their ingenious use of space. The letters are accompanied by a full biographical and critical introduction with new material about Doyle's life.

The story of Jack, the intrepid little boy whose courage and ingenuity defeated a host of many-headed giants several times his size, is an English folk-tale that must have been told often in the Victorian nursery of the Doyle family. Growing up in the 1830s, they were all gifted children, especially Richard, whose natural talent for draughtsmanship was matched by imaginative invention and a passion for legend and the grotesque. In 1842, when only eighteen, he created for his own delight a picture-book version of Jack The Giant Killer, writing the text by hand, and carefully placing on each page a water-colour illustration within a pictorial border. The new everyman edition has typeset the text for greater legibility and redesigned the book for contemporary appeal, while retaining Doyle's vivid and characterful illustrations, enlarged and enhanced by modern colour printing techniques. The result is a book that will satisfy the modern child's appetite for bloodthirsty exploits of wonder and magic, yet is at the same time a true collector's item for anyone interested in the history of children's book illustration.