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Since the Bible appears so frequently in Dylan Thomas' work, some critics have decided that he must be a religious poet. Others, noting blasphemous statements and certain irreligious aspects of Thomas' personal life, contend that he was no such thing. Rushworth M. Kidder, investigating this problem, looks below the surface of the obviously religious imagery and discovers a more profound poetry. The first part of this book discusses the nature of religious poetry and the application of that term to Thomas' work; it then develops the necessary background based on his letters and prose comments to provide a foundation for the study; and finally it examines the relationship between the religious aspects of his poetry and his well-known ambiguity. The author re-defines the vocabulary for dealing with religious imagery by establishing three distinct categories of imagery: referential, allusive, and thematic. This original technique is used to examine critically Thomas' poems to show the development of his religious and poetic thought. There are numerous close, sensitive readings of individual poems to show how his poetry, like the Bible, teaches by parable, speaking deliberate ambiguity rather than simple dogma. This strategy inspired poetry that is technically complex but thematically simple, a mode of verse that became more explicitly religious in the poet's final years. Originally published in 1973. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
In Relations, AnnKatrin Jonsson develops a new understanding of ethics and subjectivity within high modernism. The author analyzes Joyce's Ulysses, Woolf's The Waves, and Barnes's Nightwood as narratives that depict a subject turning towards the other and the world, a movement that seriously questions the sovereignty of the subject as cogito, instead opening up for otherness, excess, and indeterminacy. The author points to convergences between a phenomenological manner of thinking found in modernist literature and the notion of an ethics and an ethical subjectivity, a subject who exists in an inescapable relation with the world. As the novels acknowledge otherness, there is a rebound effect on the narrative, its structure and style; otherness transforms the narrative itself. In this way, Ulysses, The Waves, and Nightwood indicate a desire to escape from a notion of the subject that contains and controls the world and the other. By indicating ways in which new conceptions of ethics are made possible within modernism, the author also shows that there are, within modernism, both literary and philosophical texts whose understanding and representation of subjectivity already express and establish crucial aspects of the discourse on 'ethics' and 'ethical subjectivity' that characterize recent continental philosophy and cultural theory.
Here we are nibbling away all day and night, Mrs Dacey. Nibble nibble. No sense, no order, no nothing, we're all mad and nasty. Samuel Bennett leaves his home in South Wales to pursue a career in London. Setting out with an attitude of reckless, nihilistic purpose, he encounters a nightmarish city with an assortment of bizarre characters and an embarrassing first sexual experience. Join Samuel as he meanders through this dreamlike world, all with a beer bottle stuck on his little finger. Dylan Thomas's gloriously surreal coming-of-age and unfinished novel is given new life by acclaimed writer Lucy Gough. Originally premiered in Wales in 2014, the adaptation was then performed in both Sydney and Melbourne, Australia in 2015. It is published here in Methuen Drama's Plays for Young People series, pitched at ages 16-18. It features an introduction by Sam Mackie, Head of Drama in the English Faculty at The Peninsula School, Victoria.
An 'Upanisad' is a teaching session with a guru, and these thirteen texts, the 'Principal Upanisads', form a series of philosophical discourses between teacher and student that question the inner meaning of the world. Composed from around the eighth century BCE, the Upanisads have been central to the development of Hinduism, and explore the central doctrines of rebirth, karma, overcoming death, and achieving detachment, equilibrium and spiritual bliss. Speaking to the reader in direct, unadorned prose or lucid verse, they embody humanity's perennial search for truth and knowledge.
Nineteen stories of myth and magic through the centuries Here are nineteen original stories of myth, magic, and the creatures of fantasy, as seen through different historical eras— from the Age of Antiquity to the Age of Sails, the Colonial Age, the Age of Pioneers, the Pre-Modern Age, and the Age to come...
Post Celtic Tiger Landscapes in Irish Fiction discusses the representations of place and landscape in Irish fiction since 2008. It includes novels and short stories by William Trevor, Dermot Bolger, Anne Enright, Donal Ryan, Claire Kilroy, Kevin Barry, Gerard Donovan, Danielle McLaughlin, Trisha McKinney, Billy O’Callaghan and Colum McCann. In the light of writings by geographers, anthropologists and philosophers such as Doreen Massey, Tim Ingold, Giorgio Agamben and Jeff Malpas, this book looks at the metamorphoses of place and landscape representations in fiction by confirmed or debut authors, in the aftermath of a crisis with deep economic as well as cultural consequences for Irish society. It shows what place and landscape representations reveal of the past, while discussing the way notions such as boundedness, openness and emergence can contribute to thinking out space and place and designing future landscapes.
The interstellar Bridge System was the greatest invention in the long history of cosmic humanity. Spread through dozens of planets, men and their societies had drifted apart in isolation until the Bridge came to link together humanity's multifold worlds . . . and had affirmed once more that all men were brothers and sisters under the skin. But the far away world of Azreal was the exception, the one dissident world that refused the Bridge. It became the task of two agents, a man and a woman, to bring Azreal back into manshape unity, to ferret out the hidden reasons for the stubborn refusal. The problem, with its perils and high risks, was to involve more than just secrets, for Manshape is John Brunner novel that deals with the very fabric of civilization . . .