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Robert Louis Stevenson, celebrated author of such treasured classics as Treasure Island, Kidnapped, and The Strange Case of Dr. Jekyll and Mr. Hyde, has long been recognized as a master storyteller and essayist. But he was also a delightful and instructive letter writer. Now, in the centenary of his death, Yale University Press is publishing the definitive edition of Stevenson's collected letters in eight handsomely produced volumes. The edition will contain nearly 2800 letters; only 1100 have been published before, and many of these were abridged or expurgated. The letters make fascinating reading, not only for those interested in Stevenson's life and work but also for everyone interested in nineteenth-century literature and social history. The letters in volumes I and II, which cover the years from 1854 to 1879, reveal Stevenson's struggles to achieve success as an author. We learn of his years as a student, his work, and his travels. We meet the people who became his chief correspondents for the rest of his life, including Sidney Colvin, who was to be his literary mentor and lifelong friend; the poet and critic W.E. Henley; and Fanny Osbourne, who later became Stevenson's wife. During this period Stevenson published stories and essays and two books, An Inland Voyage and Edinburgh: Picturesque Notes, and set off on the journey to the Cevennes later immortalized in his famous Travels with a Donkey. Ernest Mehew's introduction and detailed annotation place the letters in a biographical framework that gives a chronology of Stevenson's life; explains his family background; and identifies the people he met, the literary projects he planned, and the contemporary events to which he refers.
Robert Louis Stevenson, long recognized as a master storyteller and essayist, was also a prolific letter writer. His letters, some 2800 pieces of correspondence, have been published in eight volumes. Volume VII covers the period from September 1890 to January 1893.
This volume of Fifteenth-Century Studies is derived from the 1995 Fifteenth-Century Symposium, held in Kaprun, Austria. As usual, it includes essays on numerous aspects of life during the time:interdisciplinary in approach, topics include Piers Plowman, Christine de Pizan, and Ovid in the Florentine renaissance. Examinations of the recent critical attention given to late-medieval drama and to Villon complete the volume.
SHAW 16 contains twenty-nine unpublished pieces by Shaw written between 1877 and 1950. The most significant is a ten-page draft synopsis of Man and Superman (the original manuscript draft of the play has been lost) in a contemplated five-act version, providing scholars with a hitherto unavailable ur-text. Equally important for the biographical and artistic insights they offer are the early literary efforts found in Shaw's first opus notebook, including an extended narrative-verse fragment of 1877 set in Dublin; a polemic (his first) on oakum picking and prison conditions; a criticism of organists and orchestral conductors; and an attempted evaluation of contemporary arts and letters in 1878. We find Shaw, through the persona of a female narrator, creating in his own image a fictional memoir of the young Hector Berlioz; offering an ironic vindication of housebreakers (in anticipation of Heartbreak House); exploring the seamy side of the prizefight ring; examining "exhausted" genres of Victorian art in 1880; defining the "true signification of the term Gentleman"; lecturing on Socialism and the family and on realism as the goal of fiction; and penetratingly considering the future of marriage in a rejected book review, one of four included in the volume. The dimensions of Shaw's political views may be examined through nearly a dozen commentaries on politics and on war and peace, ranging from the Boer War (an 1899 draft letter to the press, "Why Not Abolish the Soldier?") and 1903 municipal elections to U.S. Liberty Loans, the Italo-Abyssinian War, "how to talk intelligently" about the Second World War, and the implications of the hydrogen bomb in the nuclear age. For good measure, the volume concludes with two brief playlets, previously unrecorded. The editors have arranged these pieces individually or grouped by theme and genre as near to chronological order as possible, and the reader is brought closer to the original manuscripts by the retention of Shaw's stylistic and spelling inconsistencies, and by transliteration of the shorthand notations he frequently inserted between lines or in the margins. Each text is supplemented by an editorial note providing its provenance and a detailed physical description of the manuscript.
A national bestselling author examines one of the mind's most exalted states—one that is crucially important to learning, risk-taking, social cohesiveness, and survival itself. “[Jamison is] that rare writer who can offer a kind of unified field theory of science and art.” —The Washington Post Book World With the same grace and breadth of learning she brought to her studies of the mind’s pathologies, Kay Redfield Jamison examines one of its most exalted states: exuberance. This “abounding, ebullient, effervescent emotion” manifests itself everywhere from child’s play to scientific breakthrough. Exuberance: The Passion for Life introduces us to such notably irrepressible types as Teddy Roosevelt, John Muir, and Richard Feynman, as well as Peter Pan, dancing porcupines, and Charles Schulz’s Snoopy. It explores whether exuberance can be inherited, parses its neurochemical grammar, and documents the methods people have used to stimulate it. The resulting book is an irresistible fusion of science and soul.
First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
Labeled "e;Leeteg the Legend"e; by James Michener and Often Called the "e;American Gauguin"e;Edgar Leeteg was the father of black velvet art and the genesis of a genre continuing today with the tiki and Polynesian pop art movement, nearly 70 years later.Describing himself as a "e;fornicating, gin-soaked, dope-head,"e; Leeteg took on the elite of the art establishment of Honolulu Academy of Arts in 1938 and shamed them in the press. Always the shrewd promoter and a creative genius, Edgar Leeteg possessed many titles, astounding fans and antagonizing critics. His insatiable lust for life led the author James Michener to label him "e;Leeteg the Legend"e; in his book, Rascals in Paradise (1957).This is a biography of the artist Leeteg, who left California in 1933 bound for the South Pacific. His home in Tahiti allowed him to paint nudes, drink, and party with sensual vahines from the beaches to the bars of Tahiti.He was a wealthy artist and legend in his lifetime, a goal few can achieve."e;Cook's work is entertaining and knowledgeable. The breadth of its featured cast, quotes, and remembrances make this biography lively. Tahiti, its people, roistering ex-pats, and luminous landscapes vibrate like personal memories. Leeteg's landscapes appear alongside Paul Gauguin's, questions the fine and arbitrary line that separates "e;popular"e; art from work acclaimed "e;great."e; -Foreword Reviews
The Modern Gothic and Literary Doubles is concerned with Gothic representations of London in the late 19th century. Establishing that a modern Gothic literary mode relocates the traditional rural Gothic to the late 19th century metropolis, this volume explores the cultural history of London in the 19th century. The subsequent discussion of the Gothic fictions of Stevenson, Wilde and Wells offers new perspectives from which to assess the impact of contemporary perceptions of London as a Gothicized space on the works of these novelists.