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War. Corruption. Overpopulation. Climate change. When Earth reaches a tipping point, the world's wealthiest man decides to reboot civilization on another habitable planet. Deemed "Project Exodus," the voyage includes 4,000 like-minded colonists, a political manifesto, and all the resources they can fit on their ship. But traversing the stars and establishing the first permanent colony on a new planet is merely the first step. The real challenge lies in their attempt at a sustainable utopia. The story spans three generations of colonists on planet Eden, from the first settlers of Project Exodus to the native-born and their own progeny. With each new generation comes an existential threat to their way of life, and one family always finds itself at the center of conflict. Meanwhile, an otherworldly figure lurks in the recesses of time and space, slowly working toward its own designs. The Artifice of Eternity is a sweeping science fiction narrative with elements of mystery, psychological fiction, and political commentary interspersed with media documents from Earth's past. It is an insightful appraisal of humanity's enduring pursuit to escape human nature.
An original analysis of Hobbes' political and religious thought, arguing that apparent inconsistencies in his work were a rhetorical strategy.
The Townsend Lectures
Significant and unexplored signs of John Marston's literary rivalry with Ben Jonson are investigated here by Charles Cathcart. The centrepiece of the book is its argument that the anonymous play The Family of Love, sometimes attributed to Thomas Middleton and sometimes to Lording Barry, was in part the work of John Marston, and that it constitutes a whimsical statement of amity with Jonson. The book concerns itself with material rarely or never viewed as part of the "Poets' War" (such as the mutual attempted cuckoldings of The Insatiate Countess and the Middle Temple performance of Twelfth Night) rather than with texts (like Satiromastix and Poetaster) long considered in this light.
Haunting’s consequences for the literary imagination. Reading is a weirdly phantasmic trade: animating words to revive absent voices, rehearing the past, fantasizing a future. In Romantic Shades and Shadows, Susan J. Wolfson explores spectral language, formations, and sensations, defining an apparitional poetics in the finely grained textures of writing and their effects on present reading. Framed by an introductory chapter on writing and apparition and an afterword on haunted reading, the book includes chapters of sustained, revelatory close attention to the particular, often peculiar, literary imaginations of William Wordsworth, William Hazlitt, Percy Bysshe Shelley, Lord Byron, W. B. Yeats, and John Keats. Wolfson also explores the work of Samuel Taylor Coleridge (a self-confessed Ghost-Theorist), Mary Shelley, and other writers of the Long Romantic era, canonical as well as less familiar. All are encountered in freshly pointed ways on an arc of investigation that builds with generative force. Romantic Shades and Shadows is written with a lucidity, wit, and accessibility that will appeal to general readers, and with a critical sophistication and scholarly expertise that will engage advanced students, critics, and professional peers.
Rejecting both the notion that Horace fails as a love poet because he undermines the romantic ideal that love conquers time and the notion that he succeeds because he eschews illusions about love's ability to endure, this book challenges the assumption that temporality must inevitably pose a threat to the erotic. The author argues that temporality, understood as the contingency the male poet/lover wants to but cannot control, explains why love "fails" in Horace's Odes.
In this remarkably stimulating and erudite series of essays, Eugene Chen Eoyang explores many of the underlying paradigms and presumptions in world literature, highlighting issues of cultural interchange and cultural hegemony. Translation is seen in this perspective as a central rather than a peripheral factor in understanding the meanings of literary works. Taking concrete examples from Chinese literature, Eoyang illuminates not only the semantic collisions that underlie the complexities of translation, but also the cultural identities reflected in language and values. The title alludes to a passage from Emerson, reminding us that the object on view is not only the vision we see but is also the organ through which that vision is apprehended. The confrontation with a radical "other" - which is, for many Westerners, what Chinese literature represents - is thus both a discovery and a self-discovery. Part of the book's originality is that it identifies a new audience - one that is incipiently bicultural, or knowledgeable about what has been called "East" as well as what has been called "West." Readers with an interest in the theory and practice of translation will find this an inspiring and indispensable work, one that prepares the way for a comparative poetics that recognizes the intense subjectivities in every culture and at the same time establishes a basis for a comparison that tries to transcend, even as it acknowledges, provincialities.
An annual publication, Overheard in Seville: Bulletin of the George Santayana Society includes scholarly articles on George Santayana as well as announcements of publications and meetings pertaining to Santayana Scholarship.
How can poetry embrace morality through focusing on metaphrasts? What is the relation between an allummette and the alpha rhythm? How come that money has turned into a metonym of goodness? And above all is it still possible to think of the human subject as a viable category in late modernity? These are some of the questions that J. H. Prynne’s poetry deals with. “Levity of Design” voices a critique of the present-day society very much from within and demonstrates how Prynne has contrived to single-handedly overcome the impasse created by the legacy of poststructuralism. In a milieu of avant-garde linguistic experiment developed from modernist techniques of Pound and Olson, but also the early Eliot as well as Velimir Khlebnikov, and against the background of the writings of Heidegger and Adorno, these poems are demonstrated to seek a language in which the notion of man can be restituted.