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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.
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.
Rossini's success in Italy in the early 1820s was certainly not
echoed in France, where he was regarded as "an ill-bred parvenu,
whose cheap popularity was an insult to a great musical tradition".
Stendhal was the first of his contemporaries to recognize the
genius of this important Italian composer. Besides being a
fascinating and penetrating account of the Italian composer's most
creative years, and of contemporary musical events and opinions,
this work is one of the finest items in the Stendhalian literary
canon. Details of Rossini's early life are followed by penetrating
discussions of the operas, libretti, personalities of the period
and Rossini's own character.
An extensively revised "Backgrounds and Contexts" section provides
geographical and political insights into mid-nineteenth century
France and places the novel in the context of contemporary authors
and works. A map of 1830s France, political and literary
chronologies, an account of the trial of Antoine Berthet, and
related writings by Stendhal, Paul Valery, and Jules Janin are
included. "Criticism" collects nine essays, seven of which are new
to this edition, by Erich Auerbach, Rene Girard, Victor Brombert,
Shoshana Felman, Peter Brooks, Sandy Petrey, Alison Finch, Lisa G.
Algazi, and Susanna Lee. A Chronology of Stendhal's life and work,
also new to the Second Edition, and an updated Selected
Bibliography are included.
A contemporary collection of stories by one of France s finest
writers.
Revered by key literary figures including as Balzac and Merimee,
Stendhal is best known for his novels, but his shorter works were
just as powerful. In this brand new translation, Susan Ashe brings
his greatest Italian stories to the modern reader, whilst staying
true to Stendhal s style and brilliance.
The collection includes:
- The Abbess of Castro- Vittoria Accordamboni- The Cenci- Along
with accompanying essays by Charles Dickens, Percy Bysshe Shelley,
and Stendhal himself.
Together, these stories convey Stendhal s love of Italy and
admiration for the society s honesty, sincerity, and above all,
passion. Roman Tales will reaffirm Stendhal as one of the great
French masters of the 19th Century."
The 'Lives of Haydn, Mozart and Metastasio'- Stendhal's first
published work - owes its inspiration to the audacious pragmatism
of its author. After the collapse of the Napoleonic empire, Henri
Beyle was jobless, soon destined to become a refugee and in
desperate need of money. His most abiding passion in life was
music, so why not write about it? Unfortunately, however, he knew
next to nothing about it. So, calmly and without the slightest pang
of conscience, he resolved to plunder the works of other writers -
in particular those of the musicologist Giuseppe Carpani, who was
annoyed and said so vociferously. The result of Stendhal's
unscrupulous plagiarism is one of the most fascinating literary
enigmas of all time. How is it that what started as a blatant act
of piracy evolved into a work of enduring genius? Despite its
unpropitious beginnings, this work represents the wrong-headedness
of a genius - and the singular Louis-Alexandre-Cesar Bomet who
signed the 'Lives' was already, in everything that mattered, the
man who was to be Stendhal, one of the most enduring literary
figures of the nineteenth century.
The articles which Stendhal contributed as French correspondent for
the 'London Magazine', 'New Monthly Magazine' and other English
Marketing Reviews of the 1820s are here brought together in a
single volume, the only edition available in English. In them
Stendhal - defying fashion and giving proof of the bold originality
of his creative writing - provides an illuminating and often
entertaining commentary on the politics and mores of
post-Napoleonic France and Italy, and reveals his outstanding and
all too rarely acknowledged gifts as a reviewer and literary
critic. Together with the articles from the English Marketing
Reviews, this edition includes translations of articles, essays and
notes on Cornielle, Scott and Lord Byron, who was on terms of close
acquaintance with Stendhal during his stay in Milan in 1816.
Stendhal examines the "shadow" in lesbian relationships that
descends when women bond so completely that the intimacy becomes a
merging, obliterating the space between individuals where desire
lies. Lesbian bed death, the topic of so many comediennes, is
examined and reined in, no longer an inevitable result of a solid
relationship. "True Secrets of Lesbian Desire" casts an eye on the
myths that burden us all.
This major critical work by the great French novelist reveals
Stendhal's decisive role in the literary renaissance called
Romanticism. Written sixteen years before 'The Charterhouse of
Parma', it marked the beginning of his illustrious career and
established him at the forefront of the French Romantic movement.
The first part of 'Racine and Shakespeare' appeared as a pamphlet
in 1823, when Waterloo was still bitterly alive in the French mind.
In it, Stendhal vigorously championed the spontaneous vitality of
Shakespeare while condemning the rigid imitators of Corneille and
Racine. The second half of 'Racine and Shakespeare' appeared two
years later in answer to a speech against Romanticism by the
secretary of the Academie Francaise. It is a brilliant tour de
force, an exchange of letters between an old classicist and a young
Romanticiist, in which Stendhal defined Romanticism not only for
his age but for all time.
"The Life of Henry Brulard" is the autobiography of one of France's
greatest writers, Stendhal, author of "The Red and the Black" and
"The Charterhouse of Parma." Here, writing at white heat and with
such ferocious honesty and indignation that his book was to remain
unpublishable for more than a century after its composition,
Stendhal revisits his unhappy childhood in a stuffy provincial town
and bares his rebellious heart. His adored mother, who died when he
was only seven; a father devoted only to his own social ambitions;
the aunt whose daily cruelties passed for care: these are among the
indelible portraits in a work that captures the sights, sounds,
places, and characters of Stendhal's youth, its pleasures and
sorrows, with preternatural clarity and immediacy. Full of dazzling
images and burning emotions, "The Life of Henry Brulard" is a vivid
memoir that is also an extraordinary work of the imagination.
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Rojo y Negro
Stendhal
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R832
Discovery Miles 8 320
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Ships in 10 - 15 working days
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