Kirjahaku

The three Oxford Guides to Chaucer are written by scholars of international repute, with the purpose of summarizing what is known about his works and offering interpretations based on recent advances in both historical knowledge and theoretical understanding. They will provide readers at every level with new interpretations and ideas, with essential and up-to-date information on such matters as dating and sources and with analyses of thematic issues, structure, style rhetoric and generic relations brought right up-to-date for this second paperback edition. Helen Cooper's volume on The Canterbury Tales tackles these matters both for the whole work and for each individual Tale. It also includes a survey of literary responses to the Tales over the two centuries following Chaucer's death. The book is perhaps the most comprehensive single-volume guide to the Tales yet produced, bringing together a wide range of disparate material and providing a readable commentry on all aspects of the work. It combines the comprehensive coverage of a reference book with the coherence of a critical account and since its first publication in 1989, has established itself as a standard work on the Tales.

Recognised on its first appearance as the most comprehensive single-volume guide to The Canterbury Tales yet produced, this third edition brings the Tales up to date in relation both to recent criticism and to the changing expectations of modern readers. The Guide provide tale-by-tale information on textual variations and sources, together with a readable commentary on thematic issues, structure, style, generic affiliations, and the contribution of each tale to the work as a whole. It concludes with a survey of the many imitations of the tales down to the early seventeenth century. This new edition also takes account of the latest scholarship, theory, and criticism and new interpretations of the tales, including such matters as gender identity, consent, and racial and religious difference. The book is the most comprehensive single-volume guide to the Tales yet produced, bringing together a wide range of disparate material and providing a readable commentary on all aspects of the work. It combines the comprehensive coverage of a reference book with the clarity and coherence of a critical account. Since its first publication in 1989, the Guide has established itself as an indispensable aid for any reader looking to develop their understanding of The Canterbury Tales.

Recognised on its first appearance as the most comprehensive single-volume guide to The Canterbury Tales yet produced, this third edition brings the Tales up to date in relation both to recent criticism and to the changing expectations of modern readers. The Guide provide tale-by-tale information on textual variations and sources, together with a readable commentary on thematic issues, structure, style, generic affiliations, and the contribution of each tale to the work as a whole. It concludes with a survey of the many imitations of the tales down to the early seventeenth century. This new edition also takes account of the latest scholarship, theory, and criticism and new interpretations of the tales, including such matters as gender identity, consent, and racial and religious difference. The book is the most comprehensive single-volume guide to the Tales yet produced, bringing together a wide range of disparate material and providing a readable commentary on all aspects of the work. It combines the comprehensive coverage of a reference book with the clarity and coherence of a critical account. Since its first publication in 1989, the Guide has established itself as an indispensable aid for any reader looking to develop their understanding of The Canterbury Tales.

This book is a study of English romance across the Middle Ages and the Renaissance. It explores romance motifs - quests and fairy mistresses, passionate heroines and rudderless boats and missing heirs - from the first emergence of the genre in French and Anglo-Norman in the twelfth century down to the early seventeenth. This is a continuous story, since the same romances that constituted the largest and most sophisticated body of secular fiction in the Middle Ages went on to enjoy a new and vibrant popularity at all social levels in black-letter prints as the pulp fiction of the Tudor age. This embedded culture was reworked for political and Reformation propaganda and for the 'writing of England', as well as providing a generous reservoir of good stories and dramatic plots. The different ways in which the same texts were read over several centuries, or the same motifs shifted meaning as understanding and usage altered, provide a revealing and sensitive measure of historical and cultural change. The book accordingly looks at those processes of change as well as at how the motifs themselves work, to offer a historical semantics of the language of romance conventions. It also looks at how politics and romance intersect - the point where romance comes true. The historicizing of the study of literature is belatedly leading to a wider recognition that the early modern world is built on medieval foundations. This book explores both the foundations and the building. Similarly, generic theory, which previously tended to operate on transhistorical assumptions, is now acknowledging that genre interacts crucially with cultural context - with changing audiences and ideologies and means of dissemination. The generation into which Spenser and Shakespeare were born was the last to be brought up on a wide range of medieval romances in their original forms, and they could therefore exploit their generic codings in new texts aimed at both elite and popular audiences. Romance may since then have lost much of its cultural centrality, but the universal appeal of these same stories has continued to fuel later works from Bunyan's Pilgrim's Progress to C.S. Lewis and Tolkien.

The English Romance in Time is a study of English romance across the Middle Ages and the Renaissance. It explores romance motifs - quests and fairy mistresses, passionate heroines and rudderless boats and missing heirs - from the first emergence of the genre in French and Anglo-Norman in the twelfth century down to the early seventeenth. This is a continuous story, since the same romances that constituted the largest and most sophisticated body of secular fiction in the Middle Ages went on to enjoy a new and vibrant popularity at all social levels in black-letter prints as the pulp fiction of the Tudor age. This embedded culture was reworked for political and Reformation propaganda and for the 'writing of England', as well as providing a generous reservoir of good stories and dramatic plots. The different ways in which the same texts were read over several centuries, or the same motifs shifted meaning as understanding and usage altered, provide a revealing and sensitive measure of historical and cultural change. The book accordingly looks at those processes of change as well as at how the motifs themselves work, to offer a historical semantics of the language of romance conventions. It also looks at how politics and romance intersect - the point where romance comes true. The historicizing of the study of literature is belatedly leading to a wider recognition that the early modern world is built on medieval foundations. This book explores both the foundations and the building. Similarly, generic theory, which previously tended to operate on transhistorical assumptions, is now acknowledging that genre interacts crucially with cultural context - with changing audiences and ideologies and means of dissemination. The generation into which Spenser and Shakespeare were born was the last to be brought up on a wide range of medieval romances in their original forms, and they could therefore exploit their generic codings in new texts aimed at both elite and popular audiences. Romance may since then have lost much of its cultural centrality, but the universal appeal of these same stories has continued to fuel later works from Bunyan's Pilgrim's Progress to C.S. Lewis and Tolkien.

A wonderfully inventive and heart-warming story starring a brave and adventurous lost rabbit, from the award-winning Helen Cooper.Molly's toy rabbit, Tatty Ratty, is lost again. But don't worry, he's on his way back to her - and there are lots of adventures on the way, including flying on a dragon, and jumping aboard a pirate ship.... all before waiting for her to come and pick him back up in the toyshop. This imaginative and heart-warming adventure story is perfect for little ones - especially those missing a teddy. With glowing illustrations from Helen Cooper, twice winner of the Kate Greenaway Medal.Other stories available by Helen Cooper:The Bear Under the StairsThe Baby Who Wouldn't Go to BedPumpkin SoupA Pipkin of PepperDelicious!

By the Kate Greenaway Medalist Deep in the woods in an old white cabin, three friends make their pumpkin soup the same way every day. The Cat slices up the pumpkin, the Squirrel stirs in the water, and the Duck tips in just enough salt. But one day the Duck wants to stir instead, and then there is a horrible squabble, and he leaves the cabin in a huff. It isn't long before the Cat and the Squirrel start to worry about him and begin a search for their friend. Rendered in pictures richly evoking autumn, Helen Cooper's delightful story will resonate for an child who has known the difficulties that come with friendship. Included at the end is a recipe for delicious pumpkin soup.

Discusses the fundamentals of musical notation, explains the concepts of pitch, rhythm, and scales, and provides advice on transposition and score reading

said the Baby. The Baby wants to stay up all night, so he revs up his car and sets off on an adventure. But there is someone else who's not asleep... someone who loves the Baby very much. A magical book whose soft yet sparkling artwork perfectly captures the twilight world of a small child, determined not to go to sleep.

Celebrate 25 years of Pumpkin Soup with Cat, Duck and Squirrel"Deep in the woods, there's an old white cabin with pumpkins in the garden.There's a good smell of soup and at night, with luck,You might see a bagpiping Cat through the window and a Squirrel with a banjo,And a small singing Duck."Cat, Duck and Squirrel spend their days making pumpkin soup. Cat slices, Squirrel stirs and Duck adds the salt.But, when Duck decides that he wants to stir the soup, they start to squabble.A beloved, rhythmic story about the importance of sharing, this 25th anniversary edition of Pumpkin Soup belongs in every child's bedroom. Illustrated in autumnal colours, this story is the perfect bedtime read."Thanks to Cooper's uncanny ability to capture the dynamics of friendship, children will be able to laugh at this trio and themselves" - Publishers Weekly "Wonderfully atmospheric" - Story Snug

Pumpkin Soup. Made by a Cat, a Squirrel and a Duck, waiting just for a pipkin of salt, to make it the best you ever tasted . . . But the salt jar smashes and there is none left for the Pumpkin Soup! But not everything goes to plan . . . Fans of Pumpkin Soup will be delighted by this sequel with its warm and vibrant illustrations.

Every day, Cat, Squirrel and Duck make pumpkin soup - the best you've ever tasted. But one day, disaster strikes - there's not a single ripe pumpkin to be found! So, they make fish soup, mushroom soup and beetroot soup, but will the new soups be as delicious as their favourite? Duck doesn't think so - in fact he won't even try them! Poor Duck gets hungrier and hungrier and grumpier and grumpier, until at last Cat comes up with a soup that might just be . . . delicious!

He is utterly convinced that the bear will gobble him up if he doesn't feed it, so every day he carefully opens the door, throws in some food and slams it shut quickly - wham, bang, thump!Find out what happens when a nastly smell pervades the house and Mum and William decide to investigate .

New Statesman's Children's Book of the Year, now in paperback: an exquisite story within a story, as told by a mouse to a cat who wants to eat him!'Beguiling . . . utterly delightful.' Books for Keeps'A classic fairy tale with beautiful illustrations.' The Week Junior'A delicious treat.' Guardian Brie the mouse is caught in the paws of Gorgonzola the cat, facing certain death. How can he survive? Well, the cheese shop where they live is a source of great inspiration. The cheese labels tell stories of a world beyond their four walls . . . So Brie starts telling a riveting story, of princesses who don't want to be married, of cats that can turn into panthers, of a magical realm deep within a mountain and an extraordinary quest to break a spell . . .Children will be dazzled by the extraordinarily detailed illustrations. This promises to be a book to treasure forever.

From twice-Kate Greenaway WINNER comes an exquisite story within a story, featuring a mouse who is forced to tell stories to save his life, a cat who plans to eat said mouse as soon as the story is finished, and our protagonist's protagonist, a princess in trouble.Gorgonzola watched Brie with her tail twitching . . . then she pounced.Brie the mouse is caught between the claws of Gorgonzola the cat. Desperate to survive, Brie starts telling Gorgonzola a story . . . It's a showstopping tale - about a runaway princess, a cat that can grow to the size of a panther, an enchanted feast, a vanishing cavern and a quest to find a magical herb . . .But Gorgonzola is getting hungry . . . If Brie wants his life to be spared, this must be the best story he has ever told.A dazzling story within a story that you won't be able to put down and accompanied with stunning interior art..

An addicting and twisty debut about an apartment building devastated by the disappearance of a teenage girl--and by the secrets that won't be kept behind each closed door--that will thrill fans of Lisa Jewell and Shari Lapena. One House. Three Families. Countless Secrets. From her downstairs apartment in suburban London, Emma has often overheard the everyday life of the seemingly perfect family upstairs--Steph, Paul and teenage daughter Freya--but has never got to know them. Until one day, she hears something that seizes her attention: Freya has vanished and the police are questioning Steph and Paul about their life. Do either of you have any enemies? Anyone who might want to harm or threaten you? The effects of Freya's disappearance ripple outward, affecting not just her parents, but everyone who lives in the building, including Emma and local driving instructor Chris, who was the last person to see the teenager before she went missing. Each character's life is thrown into sharp focus as devastating mistakes and long-held secrets are picked apart and other crimes come to light--including a child gone missing twenty-five years earlier, and a shocking murder--that make clear that the past never stays where we leave it, and that homes can be built on foundations of lies.

After a shocking death at a luxurious Italian resort, two very different women must question everything--and everyone--they love in order to untangle truth from lies in this twisty, captivating read. One year ago, Leah's feisty 21-year-old niece, Amy, mysteriously drowned in the beautiful lake near her family-owned resort in Northern Italy. Now, Leah's grief has caught up with her, and she decides to return to Lake Garda for the first time since Amy's death. What she finds upon her arrival shocks her--her sister, brother-in-law, and surviving niece, Olivia, seem to have erased all memories of Amy, and fought to have her death declared an accidental drowning, despite murky circumstances. Leah knows she must look beyond the resort's beautiful fa ade and uncover what truly happened to Amy, even if her digging places both her family ties and her very life in danger. Meanwhile, in Central England, thirtysomething Joanna is recovering from a surprising break-up when she is swept off her feet by a handsome bartender. But when she learns that he is on the run from something in his past, and that their meeting may not have been a coincidence, Joanna realized that he may just a bit too good to be true. What follows is a propulsive cat-and mouse game set against the Italian lakeside as the two seemingly-unconnected women are caught up in a dangerous conspiracy.

A LibraryReads Pick Be careful who you sleep with...They've already made their bed. Lucy and her husband, Adam, have been best friends with another couple, Cora and Scott, for years. The four are practically family--they vacation together, co-own a beach cottage, and their children are inseparable. So Lucy is devastated when, while looking at a colleague's photos of a trip to the Maldives, she spots a picture of Scott, apparently on vacation with another woman. Then she learns that the woman in the photo has gone missing. Lucy can't help but fear that Scott was involved. But searching for answers might uncover secrets about Scott, Cora, and even her own husband that could destroy the picture-perfect lives they have built together. Or maybe she was never part of the picture at all. Is it possible everyone knows more than they are letting on? If so, what are the consequences of exposing the truth?

What if mother doesn't know best...? In a close-knit English village, Chrissy and Alice were once best friends. So were their sons, Leo and Robbie. Until the night Leo killed Robbie with a single, devastating punch. Now Leo has gone to prison, Chrissy has lost her pub, and Alice has been pouring her anger into a twisted project . . . As Leo's parole date approaches, the villagers are incensed and fearful about the prospect of his return. But when Chrissy arrives to collect Leo from prison, he isn't there. The staff tell her he has already been released, but nobody knows where he's gone. As the village closes ranks, Chrissy realizes her former friends are suspects in her son's disappearance, not the least of which is still-bitter Alice. Is Leo being punished for what happened that terrible night? Or do the answers lie further back, in a dark past none of them wants to revisit?