In the summer of 1958, a twelve-year-old girl took the world by storm—Lolita was published in the United States. This child, so fresh and alive, yet so pitiable in her abuse at the hands of the novel's narrator, engendered outrage and sympathy alike, and has continued to do so ever since.
Added by: algy | Karma: 431.17 | Non-Fiction, Literature Studies | 13 May 2012
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Bloom's How to Write About Stephen Crane (Bloom's How to Write About Literature)
Stephen Crane is widely recognized as a master and innovator of literary naturalism. Among his more popular works are the novels Maggie: A Girl of the Street and The Red Badge of Courage and the short stories "The Bride Comes to Yellow Sky," "The Blue Hotel," and "The Open Boat." Bloom's How to Write about Stephen Crane provides students with instructions on how to write an effective essay about Crane and his works and includes bibliographies, an index, and an introduction by Harold Bloom, Sterling Professor of the Humanities.
Xenophon's many and varied works represent a major source of information about the ancient Greek world: for example, about culture, politics, social life and history in the fourth century BC, Socrates, horses and hunting with dogs, the Athenian economy, and Sparta. However, there has been controversy about how his works should be read.
Focusing on two late-Ming or early-Qing plays central to the Chinese canon, this thought-provoking study explores crucial questions concerning personal identity. How is a person, as opposed to a ghost or animal, to be defined? How can any specific person (as distinguished, for example, from an impostor or twin) be identified? Both plays are chuanqi, representatives of a monumental genre that represents Chinese dramatic literature at its most complex: Tang Xianzu’s Peony Pavilion is a romantic comedy in 55 acts, and Kong Shangren’s Peach Blossom Fan narrates the fall of the Ming Dynasty in 40 acts.
Added by: skyxp121 | Karma: 249.92 | Non-Fiction, Literature Studies | 7 May 2012
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Art of Poetry
The editor of this book, and the ideal teacher to whom he hopes to be useful, need not agree on everything, but they will share two assumptions: (I) that such general notions as the student is going to acquire about poetry he should acquire from actual experience with poems, not from a pedagogical system; and consequently (2) that the poems he has experience with, even at the beginning, should be worth encountering for their own sake.