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Nordic Gothic traces Gothic fiction in the Nordic region from its beginnings in the nineteenth century, with a main focus on the development of Gothic from the 1990s onwards in literature, film, TV and new media. The volume gives an overview of Nordic Gothic fiction in relation to transnational developments and provides a number of case studies and in-depth analyses of individual narratives. It creates an understanding of this under-researched cultural phenomenon by showing how the narratives make visible cultural anxieties haunting the Nordic countries, their welfare systems, identities and ideologies. Nordic Gothic examines how figures from Nordic folklore function as metaphorical expressions of Gothic themes and Nordic settings are explored from perspectives such as ecocriticism and postcolonialism. The book will be of interest to researchers and post- and- undergraduate students in various fields within the Humanities.
Gösta Berling's Saga (Swedish: Gösta Berlings saga) is the debut novel of Swedish author Selma Lagerlöf, published in 1891. The hero, Gösta Berling, is a deposed minister, who has been saved by the Mistress of Ekeby from freezing to death and thereupon becomes one of her pensioners in the manor at Ekeby. As the pensioners finally get power in their own hands, they manage the property as they themselves see fit, and their lives are filled with many wild adventures, Gösta Berling is the leading spirit, the poet, the charming personality among a band of revelers.
"I enjoyed The Unit very much...I know you will be riveted, as I was." —Margaret Atwood on Twitter A modern day classic and a chilling cautionary tale for fans of The Handmaid's Tale. Named a BEST BOOK OF THE MONTH by GQ. “Echoing work by Marge Piercy and Margaret Atwood, The Unit is as thought-provoking as it is compulsively readable.” —Jessica Crispin, NPR.org Ninni Holmqvist’s uncanny dystopian novel envisions a society in the not-so-distant future, where women over fifty and men over sixty who are unmarried and childless are sent to a retirement community called the Unit. They’re given lavish apartments set amongst beautiful gardens and state-of-the-art facilities; they’re fed elaborate gourmet meals, surrounded by others just like them. It’s an idyllic place, but there’s a catch: the residents—known as dispensables—must donate their organs, one by one, until the final donation. When Dorrit Weger arrives at the Unit, she resigns herself to this fate, seeking only peace in her final days. But she soon falls in love, and this unexpected, improbable happiness throws the future into doubt.
Charles W. Chesnutt (1858-1932) was an author, essayist and political activist whose works addressed the complex issues of racial and social identity at the turn of the century. Chesnutt's early works explored political issues somewhat indirectly, with the intention of changing the attitudes of Caucasians slowly and carefully. His characters deal with difficult issues of miscegenation, illegitimacy, racial identity and social place. They also expose the anguish of mix-race men and women and the consequences of racial hatred, mob violence, and moral compromise. "Conjure Tales and Stories of the Color Line" is a collection of eighteen short stories that have a deep moral purpose mixed with elements of magic and conjuring. Included in this collection is Chesnutt's first published short story, "The Goophered Grapevine." It is set in "Patesville" (Fayetteville), North Carolina and is a story within a story in which each story is told by a different narrator. Also in this collection among many others is "The Conjurer's Revenge" that depicts Uncle Julius duping John into buying an old, useless horse.
When a country pastor's career comes to an end, he falls in with vagrant Swedish cavaliers and enters into a power struggle with the richest woman in the province.
Jan of Ruffluck Croft never tired of telling about the day when his little girl came into the world. In the early morning he had been to fetch the midwife, and other helpers; all the forenoon and a good part of the afternoon he had sat on the chopping-block, in the woodshed, with nothing to do but to wait. Outside it rained in torrents and he came in for his share of the downpour, although he was said to be under cover. The rain reached him in the guise of dampness through cracks in the walls and as drops from a leaky roof, then all at once, through the doorless opening of the shed, the wind swept a regular deluge in upon him. "I just wonder if anybody thinks I'm glad to have that young one coming?" he muttered, impatiently kicking at a small stick of wood and sending it flying across the yard. "This is about the worst luck that could come to me! When we got married, Katrina and I, it was because we were tired of drudging as hired girl and farmhand for Eric of Falla, and wanted to plant our feet under our own table; but certainly not to raise children!" He buried his face in his hands and sighed heavily. It was plain that the chilly dampness and the long dreary wait had somewhat to do with putting him in a bad humour, but they were by no means the only cause. The real reason for his lament was something far more serious. "I've got to work every day," he reminded himself, "work from early morning till late in the evening; but so far I've at least had some peace nights. Now I suppose that young one will be squalling the whole night long, and I'll get no rest then, either." Whereupon an even worse fear seized him. Taking his hands from before his face he wrung them so hard that the knuckles fairly cracked. "Up to this we've managed to scratch along pretty well, because Katrina, has been free to go out and work, the same as myself, but now she'll have to sit at home and take care of that young one." He sat staring in front of him as hopelessly as if he had beheld Famine itself stalking across the yard and making straight for his hut. "Well!" said he, bringing his two fists down on the chopping-block by way of emphasis. "I just want to say that if I'd only known at the time when Eric of Falla came to me and offered to let me build on his ground, and gave me some old timber for a little shack, if I had only known then that this would happen, I'd have said no to the whole business, and gone on living in the stable-loft at Falla for the rest of my days."
Celebrity gossip meets history in this compulsively readable collection from Buzzfeed reporter Anne Helen Peterson. This guide to film stars and their deepest secrets is sure to top your list for movie gifts and appeal to fans of classic cinema and hollywood history alike. Believe it or not, America’s fascination with celebrity culture was thriving well before the days of TMZ, Cardi B, Kanye's tweets, and the #metoo allegations that have gripped Hollywood. And the stars of yesteryear? They weren’t always the saints that we make them out to be. BuzzFeed's Anne Helen Petersen, author of Too Fat, Too Slutty, Too Loud, is here to set the record straight. Pulling little-known gems from the archives of film history, Petersen reveals eyebrow-raising information, including: • The smear campaign against the original It Girl, Clara Bow, started by her best friend • The heartbreaking story of Montgomery Clift’s rapid rise to fame, the car accident that destroyed his face, and the “long suicide” that followed • Fatty Arbuckle's descent from Hollywood royalty, fueled by allegations of a boozy orgy turned violent assault • Why Mae West was arrested and jailed for "indecency charges" • And much more Part biography, part cultural history, these stories cover the stuff that films are made of: love, sex, drugs, illegitimate children, illicit affairs, and botched cover-ups. But it's not all just tawdry gossip in the pages of this book. The stories are all contextualized within the boundaries of film, cultural, political, and gender history, making for a read that will inform as it entertains. Based on Petersen's beloved column on the Hairpin, but featuring 100% new content, Scandals of Classic Hollywood is sensationalism made smart.
This work introduces renowned linguistics scholar Anatoly Liberman's comprehensive dictionary and bibliography of the etymology of English words. The English etymological dictionaries published in the past claim to have solved the mysteries of word origins even when those origins have been widely disputed. An Analytic Dictionary of English Etymology "by contrast, discusses all of the existing derivations of English words and proposes the best one. In the inaugural volume, Liberman addresses fifty-five words traditionally dismissed as being of unknown etymology. Some of the entries are among the most commonly used words in English, including man, boy, girl, bird, brain, understand, key, ever, " and yet." Others are slang: mooch, nudge, pimp, filch, gawk, " and skedaddle." Many, such as beacon, oat, hemlock, ivy," and toad," have existed for centuries, whereas some have appeared more recently, for example, slang, kitty-corner, " and Jeep." They are all united by their etymological obscurity. This unique resource book discusses the main problems in the methodology of etymological research and contains indexes of subjects, names, and all of the root words. Each entry is a full-fledged article, shedding light for the first time on the source of some of the most widely disputed word origins in the English language. "Anatoly Liberman is one of the leading scholars in the field of English etymology. Undoubtedly his work will be an indispensable tool for the ongoing revision of the etymological component of the entries in the Oxford English Dictionary."" --Bernhard Diensberg, OED" consultant, French etymologies Anatoly Liberman is professor of Germanic philology at the University of Minnesota. He has published many works, including 16 books, most recently Word Origins . . . and How We Know Them: Etymology for Everyone."