In Stepbrothers Janneke Weijermars offers a history of the United Kingdom of the Netherlands (1815-1830) – today comprising Belgium, The Netherlands and Luxembourg, from a literary perspective.
In 28 essays and articles reprinted from original publication between 1964 and 2003, Van Seters (emeritus, biblical literature, U. of North Carolina-Chapel Hill) discusses aspects of Israel at differe
Encompassing both gardens made of plants in soil and gardens cultivated from ink on paper, Tigner (English, U. of Texas-Arlington) traces what she calls England's paradise imaginary through a 100-year
Platero and I, written by Juan Ram=n JimTnez, 1956 winner of the Nobel Prize for Literature, has been translated into the main languages of Western Europe and even into Hebrew. As Don Quixote is a gre
This selection of essays demonstrates that, in the study of Buddhism, a concern with detailed accuracy in philological and textual specifics can be combined with wider philosophical and sociological i
Through theoretical, philosophical, cultural, political, and historical analysis, Horacio Legras views the myriad factors that have both formed and stifled the integration of peripheral experiences i
In the aftermath of World War I, a sense of impasse and thwarted promise shaped the political and cultural spheres in Britain. Writers such as D. H. Lawrence, Hilda Doolittle, T. S. Eliot and Wyndham Lewis were among the literary figures who responded by pursuing vividness, autonomy and impersonality in their work. Yet the extent to which these practices were reflected in ideas about music from within the same milieu has remained unrecognised. Uncovering the work of composer-critics who worked alongside these figures - including Philip Heseltine (Peter Warlock), Cecil Gray and Kaikhosru Sorabji - Sarah Collins traces the shared tendencies of literary and musical modernisms in interwar Britain. Collins explores the political investments underpinning these tendencies, as well as the influence of English Nietzscheanism and related intellectual currents, arguing that a particular conception of the self, history, and the public characterised an ethos of 'lateness' within this milieu.
This collection brings together eighteen of the author’s original papers, previously published in a variety of academic journals and edited collections over the last three decades, on the process of i
In the aftermath of World War I, a sense of impasse and thwarted promise shaped the political and cultural spheres in Britain. Writers such as D. H. Lawrence, Hilda Doolittle, T. S. Eliot and Wyndham Lewis were among the literary figures who responded by pursuing vividness, autonomy and impersonality in their work. Yet the extent to which these practices were reflected in ideas about music from within the same milieu has remained unrecognised. Uncovering the work of composer-critics who worked alongside these figures - including Philip Heseltine (Peter Warlock), Cecil Gray and Kaikhosru Sorabji - Sarah Collins traces the shared tendencies of literary and musical modernisms in interwar Britain. Collins explores the political investments underpinning these tendencies, as well as the influence of English Nietzscheanism and related intellectual currents, arguing that a particular conception of the self, history, and the public characterised an ethos of 'lateness' within this milieu.
Decadent Poetics explores the complex and vexed topic of decadent literature's formal characteristics and interrogates previously held assumptions around the nature of decadent form. Writers studied i
