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A recurrent idea in Darrel Abel's criticism of the works of Hawthorne gives this volume its title. The idea of a fallen world and its potential for partial redemption through art and the art of criticism is a theme that weaves in and out of the sixteen essays. The volume as a whole displays an explicit and implicit concern with critical approaches and reflects an awareness of the fictiveness of critical resolutions in a world in which boundaries are constantly under challenge, for example, those which divide "textuality" from "contextuality." This collection of essays explores the problems the practical critic and teacher has had to face in the shifts in taste, assumptions, and methodology in the moves from moral and historical criticism to the "New Criticism," and to the newer linguistic and semiotic criticism.
Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.
Over 170 years after his death, Edgar Allan Poe remains a figure of enduring fascination and speculation for readers, scholars, and devotees of the weird and macabre. In Fallen Angel, acclaimed novelist and poet Robert Morgan offers a new biography of this gifted, complicated author. Focusing on Poe’s personal relationships, Morgan chronicles how several women influenced his life and art. Eliza Poe, his mother, died before he turned three, but she haunted him ever after. The loss of Elmira Royster Shelton, his first and last love, devastated him and inspired much of his poetry. Morgan shows that Poe, known for his gothic and supernatural writing, was also a poet of the natural world who helped invent the detective story, science fiction, analytical criticism, and symbolist aesthetics. Though he died at age forty, Poe left behind works of great originality and vision that Fallen Angel explores with depth and feeling.
The book is a collection of fourteen essays by Abel on Hawthorne's fiction. The essays were published over a span of about thirty-five years in various scholarly journals. The author has revised some of these essays considerably and has added seven chapters to give the book continuity and unity. Abel studies two characteristics, besides the classic elegance of its style, that distinguish Hawthorne's fiction. One characteristic is Hawthorne's habitual use of a psychological approach to its subjects. He assumed an absolute of archetypal human experiences enacting a providentially directed drama of which he had an uncertain knowledge through sympathy with characters assuming primordial roles. The other characteristic was Hawthorne's use of the mode that he called "the moral picturesque." This was a mode of figuration of the archetypal experiences that his psychological preoccupations discovered. His sensibility penetrated more deeply than his often banal thought, and the picturesque mode enabled him to cognize perceptions that were not reducible to explicit statement. In all his work he was preoccupied with two concerns: how the ideal appears in the real world, and the distinction and relation of the sexes. He saw in both these concerns paradoxes of opposition and affinity. He dealt with these paradoxes, not as subjects of philosophical speculation, but as matters for artistic treatment. In fact, he thought that the problems of relation posed by these paradoxes were insoluble, and his sole concerns was to present them vividly and dramatically.
A World of Words offers a new look at the degree to which language itself is a topic of Poe's texts. Stressing the ways his fiction reflects on the nature of its own signifying practices, Williams sheds new light on such issues as Poe's characterization of the relationship between author and reader as a struggle for authority, on his awareness of the displacement of an "authorial writing self" by a "self as it is written," and on his debunking of the redemptive properties of the romantic symbol.
Exiled Royalties is a literary/biographical study of the course of Melville's career from his experience in Polynesia through his retirement from the New York Custom House and his composition of three late volumes of poetry and Billy Budd, Sailor. The ten essays in the book are rooted in a belief that "Melville's work," as Charles Olson said, "must be left in his own 'life, '" which for Milder means primarily his spiritual, psychological, and vocational life. The title essay takes its origin from Ishmael's account of "the larger, darker, deeper part of Ahab," Melville's mythic projection of his own feelings of emotional and ontological disinheritance. How to live nobly in spiritual exile-to be godlike in the perceptible absence of God-was a lifelong preoccupation for Melville, who, in lieu of positive belief, transposed the drama of his spiritual life to literature. Exiled Royalties explores the ways in which Melville satisfied this impulse throughout his forty-five year career, how it shaped the matter and manner of his work, and how his writing, in turn, reflexively bore upon his private life and upon the life of the nation.
*Goodreads Choice Award Winner for Best Science & Technology Book of the Year* In this scientifically informed account of the changes occurring in the world over the last century, award-winning broadcaster and natural historian shares a lifetime of wisdom and a hopeful vision for the future. See the world. Then make it better. I am 93. I've had an extraordinary life. It's only now that I appreciate how extraordinary. As a young man, I felt I was out there in the wild, experiencing the untouched natural world - but it was an illusion. The tragedy of our time has been happening all around us, barely noticeable from day to day -- the loss of our planet's wild places, its biodiversity. I have been witness to this decline. A Life on Our Planet is my witness statement, and my vision for the future. It is the story of how we came to make this, our greatest mistake -- and how, if we act now, we can yet put it right. We have one final chance to create the perfect home for ourselves and restore the wonderful world we inherited. All we need is the will to do so.