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If there is a labyrinth and a sphere, Proust's memory as the minatory, then this book is genius. A flight out of that space and time. Icarus here is returned: precise, violent, and passionate. Alive. Geoff Waite German Studies and Comparative Literature, Cornell University: Scott Hartstein's Adagia is a novel in that it is not a novel. Therein lies its novelty. It is a kaleidoscope, whose reflections in both senses shimmer about a plot, to be sure, but a plot that plays second fiddle to the author's impressive erudition and his digressions into cultural, literary, religious, philosophical, musical, linguistic byways of all kinds and dimensions. These beckon the often challenged reader to follow along, unsure where he is eventually being led by the author the work's real protagonist and wondering through what lush landscapes he will be able to return. Adagia will impress and astound many readers, perplex some, even intimidate infuriate? others. But it will not leave many indifferent. Norm Shapiro Professor of Romance Languages and LIteratures, Wesleyan University Writer in residence Adams House Harvard University: The birth of a book is like the birth of a child Joyce discovered this analogy when he composed the "Oxen of the Sun" episode of Ulysses. So did Proust as he toiled, spinning the huge amniotic web of his great Oeuvre. In a different key, Adagia makes us retrace similar steps: its tangled tale surveys the long history of the European novel while creating a music that echoes in us deeply and exhilaratingly. Jean-Michel Rabaté Vartan Gregorian Chair in the Humanities, University of Pennsylvannia Co-founder and senior curator of Slought foundation.
This annotated selection of 116 proverbs, which includes all the longer essays, is based on the translation in the Collected Works of Erasmus."--BOOK JACKET.
These two volumes, published early in 1987 will now be made available for purchase, at a special price, as a Set. They list the contents of two hundred private libraries, as recorded in inventories presented for probate in the Vice-Chancellor's Court at the University of Cambridge between 1535 and 1760. Most of the books listed (as well as the maps and instruments, scientific and musical) reflect the flowering of the late English Renaissance as it affected all levels of the University community from academic potentates to the humblest student. The first volume presents the lists themselves, with brief biographical details of the books' owners, and appendices which include extracts from early wills; the second volume catalogues by author and title the books listed in Volume I, and is further supplied with an index, under broad subject-headings, of the authors represented. Dr. Leedham-Green has assembled one of the largest collections of private book-holdings ever published for this period in this country, comprising some 20,000 titles.
Late at night, Robert goes to the circus and finds a fabulous balloon machine, with which he creates unusual balloons.
If there is a labyrinth and a sphere, Proust’s memory as the minatory, then this book is genius. A flight out of that space and time. Icarus here is returned: precise, violent, and passionate. Alive. Geoff Waite German Studies and Comparative Literature, Cornell University: Scott Hartstein’s Adagia is a novel in that it is not a novel. Therein lies its novelty. It is a kaleidoscope, whose reflections—in both senses—shimmer about a plot, to be sure, but a plot that plays second fiddle to the author’s impressive erudition and his digressions into cultural, literary, religious, philosophical, musical, linguistic byways of all kinds and dimensions. These beckon the often challenged reader to follow along, unsure where he is eventually being led by the author—the work’s real protagonist—and wondering through what lush landscapes he will be able to return. Adagia will impress and astound many readers, perplex some, even intimidate—infuriate?—others. But it will not leave many indifferent. Norm Shapiro Professor of Romance Languages and LIteratures, Wesleyan University Writer in residence Adams House Harvard University: The birth of a book is like the birth of a child—Joyce discovered this analogy when he composed the “Oxen of the Sun” episode of Ulysses. So did Proust as he toiled, spinning the huge amniotic web of his great Oeuvre. In a different key, Adagia makes us retrace similar steps: its tangled tale surveys the long history of the European novel while creating a music that echoes in us deeply and exhilaratingly. Jean-Michel Rabaté Vartan Gregorian Chair in the Humanities, University of Pennsylvannia Co-founder and senior curator of Slought foundation.