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.

Freely adapted from the novel by Jules Verne, set in 1883, delightfully tells the story of Phileas Fogg's and his servant, Passepartout's, whistle-stop journey, as they try to satisfy a wager that they can circumnavigate the world in eighty days. With bandits, nasty villains around every corner and transport problems that force them to continue via hot air balloon then by a performing elephant, will they make the deadline?Large flexible cast

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

This volume address the role of literature in the formation of cultural notions of 'state, ' 'nation, ' 'subject, ' and 'citizen' in Spain from the Renaissance to the Romantic period. It brings together literary scholars and historians of the Golden Age and the eighteenth and nineteenth centuries in a dialog framed by the rise and dissolution of the Absolutist state.
Individual essays attempt to understand relationships between subjectivity and the state in Spain from the earliest articulations of the "subject" to the consolidation of an array of bourgeois subjectivities. The major argument running throughout the volume is that "literary discourse," from the time it emerges in the sixteenth century to the time it coheres within a wholly modern concept of the "aesthetic," actively develops forms of subjectivity in relation to institutions of class power. The intention of the volume is to clarify central problems regarding the emergence and function of literature across distinct modes of production, state formations, and hegemonic cultures. This book keeps open a debate on the long process through which literature and the aesthetic come to be constituted as a complex arena in which-sometimes directly, more often indirectly-the struggle for state power unfolds.

Low-budget British thriller starring Danny Dyer, Tamer Hassan and Simon Phillips. Set in an eerie post-apocalyptic London, the film tells the story of seven people who are the only remaining survivors after an unspecified cataclysmic event has wiped out the Earth's entire population. As they struggle to understand what has happened to them, the seven are hunted down one by one by a mysterious demonic power.

The son of former slaves, Paul Laurence Dunbar was one of the most prominent figures in American literature at the turn of the twentieth century. Thirty-three years old at the time of his death in 1906, he had published four novels, four collections of short stories, and fourteen books of poetry, as well as numerous songs, plays, and essays in newspapers and magazines around the world. In the century following his death, Dunbar slipped into relative obscurity, remembered mainly for his dialect poetry or as a footnote to other more canonical figures of the period. The Complete Stories of Paul Laurence Dunbar showcases his gifts as a writer of short fiction and provides key insights into the tensions and themes of Dunbar's literary achievement. The 104 stories written by Dunbar between 1890 and 1905 reveal Dunbar's attempts to maintain his artistic integrity while struggling with America's racist stereotypes. Making them available for the first time in one convenient, comprehensive, and definitive volume, The Complete Stories of Paul Laurence Dunbar illustrates the complexity of his literary life and legacy.