Download Free Dark Interpreter Book in PDF and EPUB Free Download. You can read online Dark Interpreter and write the review.

In this provocative work, Joel Faflak argues that Romanticism, particularly British Romantic poetry, invents psychoanalysis in advance of Freud. The Romantic period has long been treated as a time of incipient psychological exploration anticipating more sophisticated discoveries in the science of the mind. Romantic Psychoanalysis challenges this assumption by treating psychoanalysis in the Romantic period as a discovery unto itself, a way of taking Freud back to his future. Reading Romantic literature against eighteenth- and nineteenth-century philosophy, Faflak contends that Romantic poetry and prose—including works by Coleridge, De Quincey, Keats, and Wordsworth—remind a later psychoanalysis of its fundamental matrix in phantasy and thus of its profoundly literary nature.
Gathered together for the first time, the essays in this volume were selected to give scholars ready access to important late-twentieth and early twenty-first-century contributions to scholarship on the Romantic period and twentieth-century literature and culture. Included are Charles J. Rzepka's award-winning essays on Keats's 'Chapman's Homer' sonnet and Wordsworth's 'Michael' and his critical intervention into anachronistic new historicist readings of the circumstances surrounding the composition of "Tintern Abbey." Other Romantic period essays provide innovative interpretations of De Quincey's relation to theatre and the anti-slavery movement. Genre is highlighted in Rzepka's exploration of race and region in Charlie Chan, while his interdisciplinary essay on The Wizard of Oz and the New Woman takes the reader on a journey that encompasses the Oz of L. Frank Baum and Victor Fleming as well as the professional lives of Judy Garland and Liza Minnelli. Taken together, the essays provide not only a career retrospective of an influential scholar and teacher but also a map of the innovations and controversies that have influenced literary studies from the early 1980s to the present. As Peter Manning observes in his foreword, "this collection shows that even in diverse essays the force of a curious and disciplined mind makes itself felt."
Despite using them every day, most software engineers know little about how programming languages are designed and implemented. For many, their only experience with that corner of computer science was a terrifying "compilers" class that they suffered through in undergrad and tried to blot from their memory as soon as they had scribbled their last NFA to DFA conversion on the final exam. That fearsome reputation belies a field that is rich with useful techniques and not so difficult as some of its practitioners might have you believe. A better understanding of how programming languages are built will make you a stronger software engineer and teach you concepts and data structures you'll use the rest of your coding days. You might even have fun. This book teaches you everything you need to know to implement a full-featured, efficient scripting language. You'll learn both high-level concepts around parsing and semantics and gritty details like bytecode representation and garbage collection. Your brain will light up with new ideas, and your hands will get dirty and calloused. Starting from main(), you will build a language that features rich syntax, dynamic typing, garbage collection, lexical scope, first-class functions, closures, classes, and inheritance. All packed into a few thousand lines of clean, fast code that you thoroughly understand because you wrote each one yourself.
Attacked by T.S. Eliot and F.R. Leavis, Shelley's poetry has, over the last few decades, enjoyed a revival of critical interest. His radical politics and arrestingly original poetic strategies have been studied from a variety of perspectives - formalist, deconstructionist, new historicist, feminist and others. Of all the Romantics, Shelly has benefited most from the so-called 'theoretical revolution', as is borne out by the wide range of recent critical work represented in this volume. The 134 essays selected analyse many of Shelley's finest poems, including Alastor, Julian and Maddalo, Prometheus Unbound, Adonais and The Triumph of Life. Michael O'Neill's informed Introduction explores the contours of this debate. Detailed headnotes to the individual essays, explanations of difficult terms, and a further reading section provide invaluable guides to the reader. This collection illuminates the enduring and contemporary significance of the work of a major poet.
Does the habit of taking drugs make authors write better, or worse, or differently? Does it alter the quality of their consciousness, shape their imagery, influence their technique? For the Romantic writers of the nineteenth century, many of whom experimented with opium and some of whom were addicted to it, this was an important question, but it has never been fully answered. In this study Alethea Hayter examines the work of five writers - Crabbe, Coleridge, De Quincey, Wilkie Collins and Francis Thompson - who were opium addicts for many years, and of several other writers - notably Keats, Edgar Allan Poe and Baudelaire, but also Walter Scott, Dickens, Mrs Browning, James Thomson and others - who are known to have taken opium at times. The work of these writers is discussed in the context of nineteenth-century opinion about the uses and dangers of opium, and of Romantic ideas on the creative imagination, on dreams and hypnagogic visions, and on imagery, so that the idiosyncrasies of opium-influenced writing can be isolated from their general literary background. The examination reveals a strange and miserable region of the mind in which some of the greatest poetic imaginations of the nineteenth century were imprisoned.
The Pre-Raphaelite Brotherhood, formed in 1848 by the young Millais, Holman Hunt and Rossetti, has long been recognised as a high point in Victorian artistic production. But whilst we know much of the private lives of Pre-Raphaelite artists and writers and their best-known paintings are very familiar, their work (and particularly their visual imagery) has attracted limited attention from art historians and critical theorists. This collection redresses the situation with a series of detailed critical and historical studies of individual issues and productions, artistic and literary, relative to Pre-Raphaelitism. Using rigorous new critical analysis, the book throws new light on the ways in which the Pre-Raphaelites addressed philosophical, religious, political and social questions. It will be essential reading for all students of Victorian art, literature and ideas.--Back cover.
Disinterest has been a major concept in Western philosophy since Descartes. Its desirability and importance have been disputed, and its deifinition reworked. by such pivotal figures as Nietzsche, Shaftesbury, Locke and Kant. In this groundbreaking book, Sean Gaston looks at the treatment of disinterest in the work of two major modern Continental philosophers: Jacques Derrida and Emmanuel Levinas. He identifies both as part of a tradition, obscured since the eighteenth-century, that takes disinterest to be the opposite of self-interest, rather than the absence of all interest. Such a tradition locates disinterest at the centre of thinking about ethics. The book argues that disinterest plays a signifcant role in the philosophy of both thinkers and in the dialogue between their work. In so doing it sheds new light on their respective contributions to moral and political philosophy. Moreover, it traces the history of disinterest in Western philosophy from Descartes to Derrida, taking contributions and in the of major philosopher in both the analytic, Anglo-American and Continental traditions: Locke; Shaftesbury; Hume; Smith; Nietzsche; Kant; Hegel; Heidegger. Derrida and Disinterest offers a new reading of Derrida, a stimulating account of the role and importance of disinterest in the history of Western philosophy and a provocative and original contribution to Continental ethics.
National Book Critics Circle Award, Biographers International Organization Plutarch Award and Los Angeles Times Book Prize Finalist New York Times Book Review, Times Literary Supplement and The Guardian Best Books of 2016 Thomas De Quincey was an obsessive. He was obsessed with Wordsworth and Coleridge, whose Lyrical Ballads provided the script to his life, and by the idea of sudden death. Running away from school to pursue the two poets, De Quincey insinuated himself into their world. Basing his sensibility on Wordsworth’s and his character on Coleridge’s, he forged a triangle of unusual psychological complexity. Aged twenty-four, De Quincey replaced Wordsworth as the tenant of Dove Cottage, the poet’s former residence in Grasmere. In this idyllic spot he followed the reports of the notorious Ratcliffe Highway murders of 1811, when two families, including a baby, were butchered in their own homes. In his opium-soaked imagination the murderer became a poet while the poet became a murderer. Embedded in On Murder as One of the Fine Arts, De Quincey’s brilliant series of essays, Frances Wilson finds the startling story of his relationships with Wordsworth and Coleridge. Opium was the making of De Quincey, allowing him to dissolve self-conflict, eliminate self-recrimination, and divest himself of guilt. Opium also allowed him to write, and under the pseudonym “The Opium-Eater” De Quincey emerged as the strangest and most original journalist of his age. His influence has been considerable. Poe became his double; Dostoevsky went into exile with Confessions of an English Opium-Eater in his pocket; and Charles Dickens, Oscar Wilde, George Orwell, Alfred Hitchcock, and Vladimir Nabokov were all De Quincey devotees. There have been other biographies of Thomas De Quincey, but Guilty Thing is the first to be animated by the spirit of De Quincey himself. Following the growth of his obsessions from seed to full flowering and tracing the ways they intertwined, Frances Wilson finds the master key to De Quincey’s vast Piranesian mind. Unraveling a tale of hero worship and revenge, Guilty Thing brings the last of the Romantics roaring back to life and firmly establishes Wilson as one of our foremost contemporary biographers.
Navigating between the Indian traditions they've inherited and a baffling new world, the characters in Lahiri's elegant, touching stories seek love beyond the barriers of culture and generations.