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Who does not want to love? Love is a poison, but it is worth being weakened by such a venom given that only by loving we can find the cure: life. Love for the other is the ultimate expression of human existence. Therefore, in this work I try to sing love to the maximum degree of my being; Because, on the one hand, it does not only allow me to know the other, but also myself. From there, I can say, that I am. Poetic love is the creation of a singular universe where the beauty is transformed and embodied in the body of the desired subject. Even when we fight for the ideals of justice, dignity, peace, tolerance, etc., it is the love that gives us the impulse to be able to go ahead and do the unimaginable. Do you want to know what it means to love and be loved? Love first, and you will see yourself in the other and with the other. This book is a translation of two of the books of the author written in Spanish: "El Grito de la Locura" and "Amor poético y una expression gris", to create an English edition.
"Global anthology of twentieth-century poetry"--Back cover.
Hall's new poems further the themes of love, death, and mourning so powerfully introduced in "Without" (1999), but from the distance of passed time. These poems are by turns furious and resigned, spirited and despairing. In the end, the poet moves toward acceptance of new life in old age; eros against all odds.
A landmark work from the author of Orientalism that explores the long-overlooked connections between the Western imperial endeavor and the culture that both reflected and reinforced it. In the nineteenth and early twentieth centuries, as the Western powers built empires that stretched from Australia to the West Indies, Western artists created masterpieces ranging from Mansfield Park to Heart of Darkness and Aida. Yet most cultural critics continue to see these phenomena as separate. Edward Said looks at these works alongside those of such writers as W. B. Yeats, Chinua Achebe, and Salman Rushdie to show how subject peoples produced their own vigorous cultures of opposition and resistance. Vast in scope and stunning in its erudition, Culture and Imperialism reopens the dialogue between literature and the life of its time.
During the Cold War, freedom of expression was vaunted as liberal democracy’s most cherished possession—but such freedom was put in service of a hidden agenda. In The Cultural Cold War, Frances Stonor Saunders reveals the extraordinary efforts of a secret campaign in which some of the most vocal exponents of intellectual freedom in the West were working for or subsidized by the CIA—whether they knew it or not. Called "the most comprehensive account yet of the [CIA’s] activities between 1947 and 1967" by the New York Times, the book presents shocking evidence of the CIA’s undercover program of cultural interventions in Western Europe and at home, drawing together declassified documents and exclusive interviews to expose the CIA’s astonishing campaign to deploy the likes of Hannah Arendt, Isaiah Berlin, Leonard Bernstein, Robert Lowell, George Orwell, and Jackson Pollock as weapons in the Cold War. Translated into ten languages, this classic work—now with a new preface by the author—is "a real contribution to popular understanding of the postwar period" (The Wall Street Journal), and its story of covert cultural efforts to win hearts and minds continues to be relevant today.
S. J. Harrison sets out to sketch one answer to a key question in Latin literary history: why did the period c.39-19 BC in Rome produce such a rich range of complex poetical texts, above all in the work of the famous poets Vergil and Horace? Harrison argues that one central aspect of this literary flourishing was the way in which different poetic genres or kinds (pastoral, epic, tragedy, etc.) interacted with each other and that that interaction itself was a prominent literary subject. He explores this issue closely through detailed analysis of passages of the two poets' works between these dates. Harrison opens with an outline of generic theory ancient and modern as a basis for his argument, suggesting how different poetic genres and their partial presence in each other can be detected in the Latin poetry of the first century BC.
This is a guide to the main developments in the history of British and Irish literature, charting some of the main features of literary language development and highlighting key language topics.