Kirjahaku

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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.Delve into what it was like to live during the eighteenth century by reading the first-hand accounts of everyday people, including city dwellers and farmers, businessmen and bankers, artisans and merchants, artists and their patrons, politicians and their constituents. Original texts make the American, French, and Industrial revolutions vividly contemporary.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT040702A different issue, with the note "To the reader" reset, dated March 1794, and the addition of a "Postscript" dated: May 31, 1794. With a half-title.London: printed by C. Macrae, 1794. 75, 1]p.; 4

The poet David Gascoyne (1916-2001) led a life as surreal as his early poems. At eighteen he drafted the manifesto of the English Surrealist Group and at nineteen he published what remains an authoritative account of the international movement. He translated for Salvador Dalì and crossed swords with André Breton; the 1936 International Surrealist Exhibition in London was largely his brainchild. During the war he toured as an actor, embraced religious existentialism and became, in the words of John Lehmann, 'the most important philosophic poet of our time'. After the war he wrote for radio, painted, cooked, and went mad. The journals he kept during his periods of mental instability are masterpieces of the bizarre. Gascoyne found unexpected happiness in late middle age, emerging as an elder statesman of British poetry. Robert Fraser contends that, through all the twists and turns of his variegated existence, Gascoyne strove for candour and truth of self-expression. With equivalent candour this pioneering biography describes his creative work and multifarious translations, his inconvenient addictions, his tormented private life, and his many friendships in England and in France.

This surprising study draws together the disparate fields of postcolonial theory and book history in a challenging and illuminating way.Robert Fraser proposes that we now look beyond the traditional methods of the Anglo-European bibliographic paradigm, and learn to appreciate instead the diversity of shapes that verbal expression has assumed across different societies. This change of attitude will encourage students and researchers to question developmentally conceived models of communication, and move instead to a re-formulation of just what is meant by a book, an author, a text.Fraser illustrates his combined approach with comparative case studies of print, script and speech cultures in South Asia and Africa, before panning out to examine conflicts and paradoxes arising in parallel contexts. The re-orientation of approach and the freshness of view offered by this volume will foster understanding and creative collaboration between scholars of different outlooks, while offering a radical critique to those identified in its concluding section as purveyors of global literary power.

This surprising study draws together the disparate fields of postcolonial theory and book history in a challenging and illuminating way.Robert Fraser proposes that we now look beyond the traditional methods of the Anglo-European bibliographic paradigm, and learn to appreciate instead the diversity of shapes that verbal expression has assumed across different societies. This change of attitude will encourage students and researchers to question developmentally conceived models of communication, and move instead to a re-formulation of just what is meant by a book, an author, a text.Fraser illustrates his combined approach with comparative case studies of print, script and speech cultures in South Asia and Africa, before panning out to examine conflicts and paradoxes arising in parallel contexts. The re-orientation of approach and the freshness of view offered by this volume will foster understanding and creative collaboration between scholars of different outlooks, while offering a radical critique to those identified in its concluding section as purveyors of global literary power.

Previous studies of African poetry have tended to concentrate either on its political content or on its relationship to various European schools. This book examines for the first time West African poetry in English and French against the background of oral poetry in the vernacular. Do the roots of such poetry lie in Africa or in Europe? In committing their work to writing, do poets lose more than they gain? Can the immediacy of oral performance ever be recovered? Robert Fraser’s account of two centuries of West African verse examines its subjugation to a succession of international styles: from the heroic couplet to the austerity of experimental Modernism. Successive chapters take us through the Négritude movement and the emergence of anglophone free verse in the 1950s to the rediscovery in recent years of the neglected springs of orality, which is the subject of the concluding chapter.

Late Victorian quest romance has recently attracted renewed attention from critics. Much of this interest has centred on its politics of gender, and its vision of Empire. This book prefers to view the genre in the light of debates within the then nascent sciences of Anthropology and Archaeology. Starting with a discussion of the nature of romance, it goes on to interpret the encounters with lost or buried pasts. By describing encounters with remote places and times, so it argues, these authors were asking their readers disconcerting questions about humankind, and about their own culture’s institutions and beliefs. The book ends by considering the implications of such a view for the whole colonial enterprise.

This first ever full-length study of Ben Okri's life and work is based on twenty years of friendship and close attention to his texts. It argues that his writing is best appreciated against the background of his early exposure to the Nigerian Civil War (1967-70) and his attempts since then to forge a medium of conciliation through literature. "We live by stories", Okri once wrote, "We also live in them". Following him from Lagos to London and from obscurity to recognition, Fraser interprets Okri's successive books as refashionings of his inner and outer narrative space. Okri's fiction, essays and poems beckon us through the shabby but vibrant streets of the strife-ridden metropolis towards a potential city of justice, sincerity and peace.

In 1899 Marcel Proust read a translation of Ruskin's The Lamp of Memory in a Belgian magazine. Fourteen years later he back-projected the experience onto the narrator of Du cote de chez Swann who describes himself as a boy reading the self-same piece in the garden at Combray. In between lay a period of intermittent enthusiasm for Victorian writing: a period which saw the refurbishment of Proust's method and a fundamental rethinking of his views. Much of this reassessment was achieved in relation to English writers whom Proust adopted, absorbed and then as often as not discarded. The end result was to enable him to pass from one aesthetic to another. It is the contention of this book that the clue to this process can be found not only in Proust's evolving views on memory and time but also in his progression through a three-fold typology of form: from 'mimetic form' (art-imitating-the-real) through 'mnemonic form' (art-imitating-memory) to 'abstract form' (art-imitating-itself). The progress from one to another is illustrated through Proust's reactions to Carlyle, Darwin, Emerson, Ruskin, George Eliot, Hardy, Stevenson, Wells and Wilde. There is also a chapter on the connection in Proust's mind between literary and art criticism and his delayed response to the Ruskin-Whistler trial of 1878. A final chapter relates these matters to the current debate as to the parallel between the nineteenth century fin-de-siecle and our own.

This book is based on the author's published research and uses the principal-agent methodology as a consistent framework for analysing and evaluating the development of the European Union's agricultural land use policy as it has evolved over the last two decades from voluntary set-aside to 'compliance' set-aside to environmental stewardship. The book begins with an introduction to the principal-agent methodology and to the historical development of agricultural land use policy in the CAP (Common Agricultural Policy). There are also literature-based introductions which contextualise each major part of the book (Parts A and B). The book concludes with some reflections and forward-looking comments on policy design lessons from this research, which will be of use to students, academics and policymakers.

"Without Contraries is no progression." - William BlakeBertram and Eustace are brothers. Bertram is extroverted, practical, a celebrity and a social success. Eustace is introverted, scholarly and shyly oblique. They understand neither themselves nor one another. Instead, they tell one another stories.Only two people see through their defences: their cousin Mimi, a retired violinist who lives in 'Tartini's Rest', and Kariba, a literary genius from Africa, Bertram's nemesis and Eustace's fraternal friend...