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The &"classical,&" Steven Shankman argues, should not be confused with a particular historical period of Western antiquity, although it may owe its original articulation to the literary and philosophical explorations of ancient Greek authors. Shankman's book searches for and attempts to formulate the shape of the continuing presence&—as embodied in particular literary works mainly from Western antiquity and the neoclassical and modern periods&—of what the author calls a &"classical&" understanding of literature. For Shankman, literature, defined from a classical perspective, is a coherent, compelling, and rationally defensible representation that resists being reduced either to the mere recording of material reality or to the bare exemplification of an abstract philosophical precept. He derives his definition largely from his reading of Greek literature from Homer through Plato, from the history of literary criticism, and from the Greco-Roman tradition in English, American, and French literature. Shankman reveals unsuspected yet convincing connections among authors of such widely disparate times and places. His idea of the &"classic&" that authorizes these connections is presented as normative, thus making possible the evaluation of literary works and, in turn, forthright discussion of what constitutes the &"literary&" as distinct from other kinds of discourse. Shankman's study runs counter to a strong tendency of contemporary criticism that argues precisely against any distinct category of the &"literary.&" He offers a series of interpretations that cumulatively advance theoretical discussion by challenging scholars to rethink the critical paradigms of postmodernism. At the center of the book is a discussion of the quintessentially classic Val&éry poem Le Cimeti&ère marin and the classic qualities it shares with Pindar's third Pythian ode, from which Val&éry derives the epigraph for his poem.
Two brothers attempt to forge a life for themselves on the margins of society in this propulsive coming-of-age novel.
"This is a well-organized, gracefully written account of a significant aspect of Southern fiction, and it contains information and incisive commentary that one can find nowhere else." --Thomas Daniel Young Many southern writers imagined the South as a qualified dream of Arcady. They retained the glow of the golden land as a device to expose or rebuke, to confront or escape the complexities of the actual times in which they lived. The Dream of Arcady examines the work of post-Civil War southern writers who criticize the myth of the South as pastoral paradise. Sooner or later in all their idealized worlds, the idyllic vision fades in an inescapable moment of awakening. This moment, which is central to MacKethan's study, produces an atmosphere pastoral in mood and implications. Her perspective analysis juxtaposes the responses of Sidney Lanier, Joel Chandler Harris, and Thomas Nelson Page, who contributed to yet hope to transcend sectionalism, with the ambivalent views of black writers Charles Chesnutt and Jean Toomer. Considering the writings of the Agrarians, William Faulkner, and Eudora Welty, MacKethan then concludes her study by questioning whether the Arcadian dream still serves the artist of our era as a frame for artistic and ideological purposes.
Literary Studies is currently going through a deep transformation, preparing itself for the launch into the twenty-first century. The present volume, which is dedicated to Douwe Fokkema on the occasion of his retirement from Utrecht University, captures this transformation in a number of squibs by a select international group of scholars. Topics dealt with are: canon formation, conventions, cultural relativism, hermeneutics vs. empirical studies, and the problem of values, all themes very much central to current discussions in comparative literature and literary theory. Taken together they form a variegated picture of a discipline in a changing world, continually involved, so to speak, in 'The Search for a New Alphabet.'
The first unabridged publication of the memoirs of Cornelia Jones Pond, a privileged child of a slaveholding family in Georgia, follws her life from her birth into the antebellum world of 1834, through the apocalyptic Civil War, and beyond. UP.
An unprecedented number of emigrants left Britain to settle in America, Australia, Canada, and New Zealand during the Victorian period. Utilizing new digital resources and methodologies alongside more traditional modes of scholarship, British Settler Emigration in Print, 1832-1877 presents the first book-length study of the periodical print culture that imagined, mediated, and galvanized this important stage of empire history. It presents extensive new research on how settler emigration was registered within Victorian periodicals and situates its focus on British texts and contexts within a broader, transnational framework. The book argues that the Victorian periodical was an inherently mobile form which had an unrivalled capacity to both register mass settler emigration and moderate its disruptive potential. Part one focuses upon settler emigration genres that featured within mainstream, middle-class periodicals, incorporating the analysis of emigrant voyage texts, emigration themed Christmas stories, and serialized novels about settlement. These genres are cohesive, domestic, and reassuring, and thus of a different character from the adventure stories often associated with Victorian empire. Part two examines a feminist and radical periodical emigration literature that often challenged dominant settler ideologies. Alongside its examination of ephemeral emigration texts, the book offers fresh readings of key works by Charles Dickens, Anthony Trollope, Edward Bulwer-Lytton, Thomas Martin Wheeler, and others. Ultimately, the book shows how periodical settler emigration literature transforms our understanding of both the culture of Victorian empire and Victorian literature and culture as a whole. It also makes significant intersections into debates about periodical form and the role of digitization within Victorian Studies.
"An erudite, intelligent and imaginative work of literary scholarship. With vivacity, grace, and wit, Doody traces the history (of the novel) from the ancient novels of Apuleium and Heliodorus through the Renaissance fictions of Boccaccio, Cervantes, and Rabelais to the 'official' birth of the novel in 18th-century England".--BOSTON GLOBE. 39 illustrations.
A Newbery Honor Book. Sasha Zaichik has known the laws of the Soviet Young Pioneers since the age of six: The Young Pioneer is devoted to Comrade Stalin, the Communist Party, and Communism. A Young Pioneer is a reliable comrade and always acts according to conscience. A Young Pioneer has a right to criticize shortcomings. But now that it is finally time to join the Young Pioneers, the day Sasha has awaited for so long, everything seems to go awry. He breaks a classmate's glasses with a snowball. He accidentally damages a bust of Stalin in the school hallway. And worst of all, his father, the best Communist he knows, was arrested just last night. This moving story of a ten-year-old boy's world shattering is masterful in its simplicity, powerful in its message, and heartbreaking in its plausibility. One of Horn Book's Best Fiction Books of 2011