Kirjahaku

In The Age of Elizabeth in the Age of Johnson, Jack Lynch explores eighteenth-century British conceptions of the Renaissance, and the historical, intellectual, and cultural uses to which the past was put during the period. Scholars, editors, historians, religious thinkers, linguists and literary critics of the period all defined themselves in relation to 'the last age' or 'the age of Elizabeth'. Seventeenth- and eighteenth-century thinkers reworked older historical schemes to suit their own needs, turning to the ages of Petrarch and Poliziano, Erasmus and Scaliger, Shakespeare, Spenser, and Queen Elizabeth to define their culture in contrast to the preceding age. They derived a powerful sense of modernity from the comparison, which proved essential to the constitution of a national character. This interdisciplinary study will be of interest to cultural as well as literary historians of the eighteenth century.

In The Age of Elizabeth in the Age of Johnson, Jack Lynch explores eighteenth-century British conceptions of the Renaissance, and the historical, intellectual, and cultural uses to which the past was put during the period. Scholars, editors, historians, religious thinkers, linguists and literary critics of the period all defined themselves in relation to 'the last age' or 'the age of Elizabeth'. Seventeenth- and eighteenth-century thinkers reworked older historical schemes to suit their own needs, turning to the ages of Petrarch and Poliziano, Erasmus and Scaliger, Shakespeare, Spenser, and Queen Elizabeth to define their culture in contrast to the preceding age. They derived a powerful sense of modernity from the comparison, which proved essential to the constitution of a national character. This interdisciplinary study will be of interest to cultural as well as literary historians of the eighteenth century.

In the first extended treatment of the debates surrounding public deception in eighteenth-century Britain, Jack Lynch contends that forgery, fakery, and fraud make explicit the usually unspoken grounds on which Britons made sense of their world. Confrontations with inauthenticity, in other words, bring tacitly understood conceptions of reality to the surface. Drawing on a wide range of contemporary print and manuscript sources”not only books and pamphlets, but ballads, comic prints, legal proceedings, letters, and diaries”Lynch focuses on the debates they provoked, rather than the forgers themselves. He offers a comprehensive treatment of the criticism surrounding fraud in most of the noteworthy controversies of the long eighteenth century. To this end, his study is structured around topics related to the arguments over deception in Britain, whether they concerned George Psalmanazar's Formosan hoax at the beginning of the eighteenth century or William Henry Ireland's Shakespearean imposture at the end. Beginning with the question of what constitutes deception and ending with an illuminating chapter on what was at stake in these debates for eighteenth-century British thinkers, Lynch's accessibly written study takes the reader through the means”whether simple, sophisticated, or tortuously argued”by which partisans on both sides struggled to define which of the apparent contradictions were sufficient to disqualify a claim to authenticity. Fakery, Lynch persuasively argues, transports us to the heart of eighteenth-century notions of the value of evidence, of the mechanisms of perception and memory, of the relationship between art and life, of historicism, and of human motivation.

In the first extended treatment of the debates surrounding public deception in eighteenth-century Britain, Jack Lynch contends that forgery, fakery, and fraud make explicit the usually unspoken grounds on which Britons made sense of their world. Confrontations with inauthenticity, in other words, bring tacitly understood conceptions of reality to the surface. Drawing on a wide range of contemporary print and manuscript sources”not only books and pamphlets, but ballads, comic prints, legal proceedings, letters, and diaries”Lynch focuses on the debates they provoked, rather than the forgers themselves. He offers a comprehensive treatment of the criticism surrounding fraud in most of the noteworthy controversies of the long eighteenth century. To this end, his study is structured around topics related to the arguments over deception in Britain, whether they concerned George Psalmanazar's Formosan hoax at the beginning of the eighteenth century or William Henry Ireland's Shakespearean imposture at the end. Beginning with the question of what constitutes deception and ending with an illuminating chapter on what was at stake in these debates for eighteenth-century British thinkers, Lynch's accessibly written study takes the reader through the means”whether simple, sophisticated, or tortuously argued”by which partisans on both sides struggled to define which of the apparent contradictions were sufficient to disqualify a claim to authenticity. Fakery, Lynch persuasively argues, transports us to the heart of eighteenth-century notions of the value of evidence, of the mechanisms of perception and memory, of the relationship between art and life, of historicism, and of human motivation.

Updated and expanded from one of the most popular grammar sites on the web, this book provides a modern guide to English usage for the 21st century. With topics arranged alphabetically and written in an enjoyable and readable tone, The English Language: A User's Guide will help students and writers understand the nature of the language, explaining the 'why' of the rules as well as what constitutes good grammar and style. Going beyond the prescriptive wrong /right examples, Jack Lynch includes examples of weak/strong, good/better, disputed/preferred, and informal/formal usage.

Samuel Johnson's 1755 two volume, 2,300 page dictionary marked a milestone in language.The work of a great reader and writer, and an earnest compiler, it was England's definitive dictionary for over 150 years until it was superseded by The Oxford English Dictionary. This new edition contains more than 3,100 selections faithfully adapted from the original. Bristling with quotations, the Dictionary offers a treasury of memorable passages on subjects ranging from books and critics to dreams and ethics. For those who appreciate literature and love language, this is a browser's delight - an encyclopaedia of the age and a dictionary for the ages.fribbler n.s. [from the verb.] A trifler A fribbler is one who professes rapture for the woman, and dreads her consent. Spectator No. 288to lisp v.n. [hlisp, Saxon.] To speak with too frequent applauses of the tongue to the teeth or palate, like children. Come, I cannot cog, and say, thou art this and that, like a many of these lisping hawthorn buds, that come like women in mens apparel and smell like Bucklersbury in sampling time. Shakespeare's Merry Wives of Windsorurinátor n.s. [Urinateur, Fr. Urinator, Lat.] A diver; one who searches under water.The precious things that grow there, as pearl, may be much more easily fetched up by the help of this, than by any other way of urinators. Wilkins Math. Magic.abnórmous adj. [abnormis, Lat. Our of rule] Irregular, misshapen.Afterclap n.s. Unexpected events happening after an affair is supposed to be at an end.

BRAGG V1The first three, powerhouse novels in Jack Lynch's Edgar Award-nominated and two-time Shamus Award-nominated Bragg series. Private investigator Peter Bragg learns that The Dead Never Forget when he's hired by a retired mobster to find out who is threatening his eleven-year-old daughter. Bragg's relentless search for The Missing and the Dead pits him against a brilliant serial killer obsessed with the expressions of death on his victim's faces. Edgar Award FinalistBragg becomes the hunter and the hunted as killers descend on the city to find thirty-two Pieces of Death -- gem-encrusted chess pieces smuggled out of China that are worth a staggering fortune. Shamus Award Finalist"Tough, taut and terse... literate without being lofty, not unlike the work of Hammett himself," The Thrilling Detective"First-rate, well-plotted," 101 Knights: A Survey of American Detective Fiction"Bragg is authentic, gripping, gritty," San Francisco Examiner