Kirjahaku

Heather James examines the ways in which Shakespeare handles the inheritance and transmission of the Troy legend. She argues that Shakespeare's use of Virgil, Ovid and other classical sources demonstrates the appropriation of classical authority in the interests of developing a national myth, and goes on to distinguish Shakespeare's deployment of the myth from 'official' Tudor and Stuart ideology. James traces Shakespeare's reworking of the myth in Troilus and Cressida, Antony and Cleopatra, Cymbeline and The Tempest, and shows how the legend of Troy in Queen Elizabeth's day differed from that in the time of King James. The larger issue the book confronts is the directly political one of the way in which Shakespeare's textual appropriations participate in the larger cultural project of finding historical legitimation for a realm that was asserting its status as an empire.

Heather James examines the ways in which Shakespeare handles the inheritance and transmission of the Troy legend. She argues that Shakespeare’s use of Virgil, Ovid and other classical sources demonstrates the appropriation of classical authority in the interests of developing a national myth, and goes on to distinguish Shakespeare’s deployment of the myth from ‘official’ Tudor and Stuart ideology. James traces Shakespeare’s reworking of the myth in Troilus and Cressida, Antony and Cleopatra, Cymbeline, and The Tempest, and shows how the legend of Troy in Queen Elizabeth’s day differed from that in the time of King James. The larger issue the book confronts is the directly political one of the way in which Shakespeare’s textual appropriations participate in the larger cultural project of finding historical legitimation for a realm that was asserting its status as an empire.

Evelyn Barrett wants to die. As long as her daughter's murderer dies with her, she is ready to go. Why did this man--this stranger--destroy her family? Why has he not been brought to justice? Why is she forced to live a life of anger and grief? Amid a million questions she cannot answer, Evelyn knows one thing for sure: this murderer must be punished for his crime. Before it all, she was a successful attorney who won all the hard cases. Now that the case is personal, Evelyn will stop at nothing to seek her own version of justice. When another girl goes missing, Evelyn plows forward, ignoring the warnings from police detectives, the pleas of her grief-stricken husband, and the strange, almost supernatural tingles that tug at her. But as she follows the stench of evil, Evelyn learns that the hardest thing she will have to face may not be the death of her child after all. Perhaps the harder lesson is this: the ultimate truth--of crime and verdict, of life and death--cannot be swayed by a mother's revenge. In this first book of a new, page-turning series, a woman will be brought to her limits before she finally recognizes the movement of the Holy Spirit and reconnects with the source of true peace.

Evelyn Barrett has a new job, a new baby, and a new life. Nearly crushed by the horrific abduction and murder of her daughter (book 1, Unholy Hunger), Evelyn is moving on as best she can. No longer allowed to practice law, she is recruited by one of the detectives from her daughter's case to become a police consultant. Her inaugural case becomes a baptism of fire as she joins the hunt for a chillingly methodical and sadistic serial rapist and murderer. Her revulsion and anger fuels a passion for justice - and then it becomes personal. Her friend and law school roommate, Jen, becomes a victim. Filled with chilling tension Hands of Darkness, like its prequel, explores the emotional and spiritual consequences for all involved when justice and compassion collide head-on with the darkest examples of human depravity.

The range of poetic invention that occurred in Renaissance English literature was vast, from the lyric eroticism of the late sixteenth century to the rise of libertinism in the late seventeenth century. Heather James argues that Ovid, as the poet-philosopher of literary innovation and free speech, was the galvanizing force behind this extraordinary level of poetic creativity. Moving beyond mere topicality, she identifies the ingenuity, novelty and audacity of the period's poetry as the political inverse of censorship culture. Considering Spenser, Marlowe, Shakespeare, Jonson, Milton and Wharton among many others, the book explains how free speech was extended into the growing domain of English letters, and thereby presents a new model of the relationship between early modern poetry and political philosophy.

The range of poetic invention that occurred in Renaissance English literature was vast, from the lyric eroticism of the late sixteenth century to the rise of libertinism in the late seventeenth century. Heather James argues that Ovid, as the poet-philosopher of literary innovation and free speech, was the galvanizing force behind this extraordinary level of poetic creativity. Moving beyond mere topicality, she identifies the ingenuity, novelty and audacity of the period's poetry as the political inverse of censorship culture. Considering Spenser, Marlowe, Shakespeare, Jonson, Milton and Wharton among many others, the book explains how free speech was extended into the growing domain of English letters, and thereby presents a new model of the relationship between early modern poetry and political philosophy.