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The Absolute Gravedigger, published in 1937, is in many ways the culmination of Va-tÄ>zslav Nezval's work as an avant-garde poet, combining the Poetism of his earlier work and his turn to Surrealism in the 1930s with his political concerns in the years leading up to World War II. It is above all a collection of startling verbal and visual inventiveness. And while a number of salient political issues emerge from the Surrealist ommatidia, Nezval's imagination here is completely free-wheeling and untethered to any specific locale as he displays mastery of a variety of forms, from long-limbed imaginative free verse narratives to short, formally rhymed meditations in quatrains, to prose and even visual art (the volume includes six of his decalcomania images). Together with his previous two collections, The Absolute Gravedigger forms one of the most important corpora of interwar Surrealist poetry. Yet here Nezval's wild albeit restrained mix of absolute freedom and formal perfection has shifted its focus to explore the darker imagery of putrefaction and entropy, the line breaks in the shorter lyric poems slicing the language into fragments that float in the mind with open-ended meaning and a multiplicity of readings. Inspired by Salvador Dala-'s paranoiac-critical method, the poems go in directions that are at first unimaginable but continue to evolve unexpectedly until they resolve or dissolve -- like electron clouds, they have a form within which a seemingly chaotic energy reigns. Nezval's language, however, is under absolute control, allowing him to reach into the polychromatic clouds of Surrealist uncertainty to form shapes we recognize, though never expected to see, to meld images and concepts into a constantly developing and dazzling kaleidoscope.
Few can offer a more experienced view on religion than Ray Bradley. Having been raised as a 'winner of souls for Christ' in the 1940s, he spent the next 40 years as an atheist professor of philosophy and an outspoken critic /debater of religion. Revered for his work in logic and his meticulous approach to debate, God's Gravediggers is Bradley's coup de grâce to religion. A career's worth of work on a subject that could hardly be more important. Approaching the moral, logical and scientific arguments - using rich analogies, rational arguments and examples that non-academics would understand - he explores not only whether God exists, but also what damage the concept of God does. A timely book in an age of religious fundamentalism, hatred and conflict. "Bradley does not gloss over difficult points of logic and reasoning. A pleasure to read." Professor Graham Oppy, Chair of Council of the Australasian Association of Philosophy "From a young person's rejection of Christianity, to a mature philosopher's cogent critique of all religions. This compelling defense of atheism is a brilliant read." Professor Robert Nola, University of Auckland. "Bradley's forte is logic and he brings that to bear throughout the work. It is well-written and thoroughly absorbing. I have nothing but praise for his project." Theodore Drange, Professor Emeritus, West Virginia University
In the summer of 1935, Vít?zslav Nezval, already one of the most celebrated Czech poets of his generation, embarked on a period of manic creativity that would result in three volumes of poetry written and published in a two-year span (1935-37), mirrored by three volumes of memoir-like poetic prose. These collections would not only reshape Czech poetry, blending approaches developed by the French Surrealists with national cultural sensibilities and political concerns, taken together they are among the highest achievements of the interwar avant-garde. Each of the three volumes adopted a different principle of Surrealism as its general modus operandi. For Woman in the Plural (1936), the first volume in this loose trilogy, it was objective chance (while the third and final volume, The Absolute Gravedigger (1937), adopted the paranoiac-critical method).As the title suggests, the collection is an extended meditation on the female form, the images of which Nezval spins zoetrope-like to convey novel and hallucinatory ways to conceive Woman's mythical, divine, and creative power. Aligned with the international modernism of the era, Woman in the Plural addresses the social and political instability of the 1930s while also serving to display Nezval's prodigious talents in a variety of forms, styles, and genres. Alongside the madcap, entertainingly profound poetry in couplets, litanies, and stanzas of varying lengths, the collection also includes pages from Nezval's dream journal, a set of exuberant Surrealist exercises, and a full-length play of chance encounters with "a woman like any other." Never before translated into English, this is a vibrant, volatile collection, a true tour de force from one of the greatest poets of the European avant-garde.
Geoffrey Bullough’s The Narrative and Dramatic Sources of Shakespeare (1957-75) established a vocabulary and a method for linking Shakespeare’s plays with a series of texts on which they were thought to be based. Shakespeare’s Resources revisits and interrogates the methodology that has prevailed since then and proposes a number of radical departures from Bullough’s model. The tacitly accepted linear model of ‘source’ and ‘influence’ that critics and scholars have wrestled with is here reconceptualised as a dynamic process in which texts interact and generate meanings that domesticated versions of intertextuality do not adequately account for. The investigation uncovers questions of exactly how Shakespeare ‘read’, what he read, the practical conditions in which narratives were encountered, and how he re-deployed earlier versions that he had used in his later work.
“A Digger must not refuse a request from the Dead." —Rule Five of the Gravedigger’s Code Ian Fossor is last in a long line of Gravediggers. It’s his family’s job to bury the dead and then, when Called by the dearly departed, to help settle the worries that linger beyond the grave so spirits can find peace in the Beyond. But Ian doesn’t want to help the dead—he wants to be a Healer and help the living. Such a wish is, of course, selfish and impossible. Fossors are Gravediggers. So he reluctantly continues his training under the careful watch of his undead mentor, hoping every day that he’s never Called and carefully avoiding the path that leads into the forbidden woods bordering the cemetery. Just as Ian’s friend, Fiona, convinces him to talk to his father, they’re lured into the woods by a risen corpse that doesn’t want to play by the rules. There, the two are captured by a coven of Weavers, dark magic witches who want only two thing—to escape the murky woods where they’ve been banished, and to raise the dead and shift the balance of power back to themselves. Only Ian can stop them. With a little help from his friends. And his long-dead ancestors. Equal parts spooky and melancholy, funny and heartfelt, The Gravedigger’s Son is a gorgeous debut that will long sit beside Neil Gaiman’s The Graveyard Book and Jonathan Auxier's The Night Gardener.
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The next thrilling novel in the all new Colletti series from acclaimed author Solomon Jones Just weeks after tracking down a killer known as the Angel of Death, Detective Mike Coletti stands at Mary Smithson's grave, mourning the woman whose betrayal nearly cost him his life. He's joined there by Mary's beautiful half-sister, Lenore. Moments later, a gunshot splits the air, placing Coletti on a collision course with the Gravedigger, a killer hell-bent on deciphering the secret of life and death. As bodies drop and tensions mount, clues are plucked from the victims, and one thing is abundantly clear—Lenore is the killer's ultimate target. But to stop the Gravedigger, Coletti and his partners must go beyond protecting Lenore. They must go to the one place where life and death routinely meet. They must go back to the grave.
Resignation and Ecstasy challenges critical sociology and social philosophy to theorize neoliberalism from the standpoint of a moral economy of sacred forces that both frustrates and facilitates conceptual unifications in the quest for collective solidarity.
When his song is over, so are you Under a starless winter night in rural Cornwall, four killers dressed in bizarre folkloric garb brutally invade the home of the wealthy West family. They destroy the posh house and kill the terrified family. All but one: traumatized seventeen-year-old Simon manages to escape, fleeing through snowy woods. Later, fears that he’s an active target of madmen or criminals lead the police to once more come knocking on Tom Killgannon’s door: Will he watch over Simon until a more secure place is found for the boy? An ex–undercover cop now living in witness protection, Tom’s turned his back on his violent past. Living in seclusion in his coastal cottage alongside his adoptive daughter, Lila, he also has a romance blossoming with local tavern owner, Pearl Ellacott. Tom’s reluctant to shelter Simon, but the boy comes to stay, and villains are soon circling the cottage like vultures. When there’s a break-in late one night, Tom must protect his own. The ensuing violence disrupts the household harmony: a rift opens up as Pearl fears a life with Tom will be forever plagued by violence. Meanwhile, a local by-election in this economically depressed part of the country arouses dangerous nativist sentiments. Simon falls into the clutches of a fanatical political cult that sees a way to brainwash him and use him for their own ends. To save the boy, Tom must summon from within the violent man he once was, risking the new life he created to face down the most lethal of foes.