Astronomy is not just a subject unto itself. We all look at the sky, and it has always been a fertile source of guidance and inspiration in art, music, and literature. This book explores the sky’s appearances in music and art, but focuses most on the sky’s enormous presence in early modern English literature.
Elizabeth I was one of the most powerful women rulers in European history. What can feminism reveal about the attitudes of her male subjects towards this enigmatic figure? Through readings of key Elizabethan texts by Lyly, Ralegh, Chapman, Shakespeare, and Spenser, Philippa Berry shows that while Elizabeth's combination of chastity with political and religious power was repeatedly idealized, it was also perceived as extremely disturbing. The figure of the unmarried queen implicitly challenged the masculine focus of Renaissance discourses of love, philosophy and absolutist political ideology.
An in-depth exploration, through his plays and poems, of the philosophy of Shakespeare as a great poet, a great dramatist and a "great mind". - Written by a leading Shakespearean scholar - Discusses an array of topics, including politics and political theory, writing and acting, religious controversy and issues of faith, skepticism and misanthropy, and closure - Explores Shakespeare as a great poet, a great dramatist and a "great mind"
Added by: hmimi | Karma: 167.25 | Science literature, Literature Studies | 24 January 2012
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Social Theory And The Crisis Of Marxism.pdf
It is addressed to concepts of social theory within that tradition, and, more especially, to concepts of the nature and status of Marxist social theory itself. Thus its topic comprises forms of self-understanding that are at the same time views on the proper or optimal ways of doing certain kinds of theoretical work. It seeks both to explicate these ideas and to assess them critically. If its primary objectives are achieved, some further questions should come into
Gramsci had been in prison for almost eight years when Lukács, in 1934, published two essays which are crucial for understanding the state of Marxist aesthetics in the 1930s. The first, entitled ‘Art and Objective Truth’, displays the epistemological foundations of Lukács’ aesthetic theory.1 And the second focuses on what he calls the ‘greatness and decline’ of expressionism.
