The high seas are one of the most enduring literary settings, and many of the greatest works in the Western literary canon have taken place aboard ships and galleons. Collected here are the greatest marine tales of horror and terror, featuring tales by such classic writers as Edgar Allan Poe and Arthur Conan Doyle.
The book "A History of Story-telling studies in the development of narrative" examines the history of narrative and storytelling by focusing on the development of form and techniques in the narrative. The book is divided into two major sections. The first section begins with an examination of the origins of narrative and storytelling, then moves on to an analysis of the medieval poem 'The Romance of the Rose,' as well as works by Chaucer and Boccaccio. This section also looks at the Rogue Novel, the Elizabethans, and the Pastoral, as well as Cervantes and eighteenth-century authors like Fielding, Smollett, and the masculine novel. The second section examines Romanticism to various authors such as Chateaubriand and then moves on to a study of nineteenth-century literature before concluding with a note on Flaubert and De Maupassant and a general conclusion.
Like music, art is a universal language. Although looking at works of art is a pleasurable enough experience, to appreciate them fully requires certain skills and knowledge." --Carol Strickland, from the introduction to The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern * This heavily illustrated crash course in art history is revised and updated. This second edition of Carol Strickland's The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern offers an illustrated tutorial of prehistoric to post-modern art from cave paintings to video art installations to digital and Internet media. * Featuring succinct page-length essays, instructive sidebars, and more than 300 photographs, The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern takes art history out of the realm of dreary textbooks, demystifies jargon and theory, and makes art accessible-even at a cursory reading. * From Stonehenge to the Guggenheim and from Holbein to Warhol, more than 25,000 years of art is distilled into five sections covering a little more than 200 pages.
This Companion serves both as an introduction for the interested reader and as a source of the best recent scholarship on the author and his works. In addition to analysing his major texts, the contributors provide insights into Hemingway's relationship with gender history, journalism, fame and the political climate of the 1930s. The essays are framed by an introductory chapter on Hemingway and the costs of fame and an invaluable conclusion providing an overview of Hemingway scholarship from its beginnings to the present. Students will find the selected bibliography a useful guide to future research. Contributors include both distinguished established figures and brilliant newcomers, all chosen with regard to the clarity and readability of their prose.
The Shadow and Its Shadow is a classic collection of writings by the Surrealists on their mad love of moviegoing. The forty-odd theoretical, polemical, and poetical re-visions of the seventh art in this anthology document Surrealism's scandalous and nonreductive take on film. Writing between 1918 and 1977, the essayists include such names as Andréeacute; Breton, Louis Aragon, Robert Desnos, Salvador Dalíiacute;, Luis Buñntilde;uel, and man Ray, as well as many of the less famous though equally fascinating figures of the movement. Paul Hammond's introduction limns the history of Surrealist cinemania, highlighting how these revolutionary poets, artists, and philosophers sifted the silt of commercial-often Hollywood-cinema for the odd fleck of gold, the windfall movie that, somehow slipping past the censor, questioned the dominant order. Such prospecting pivoted around the notion of lyrical behavior-as depicted on the screen and as lived in the movie house. The representation of such behavior led the Surrealists to valorize the manifest content of such denigrated genres as silent and sound comedy, romantic melodrama, film noir, horror movies. As to lived experience, moviegoing Surrealists looked to the spectacle's latent meaning, reading films as the unwitting providers of redemptive sequences that could be mentally clipped out of their narrative context and inserted into daily life-there, to provoke new adventures. "Hammond's book is a reminder of the wealth and range of surrealist writings on the cinema. . . . [T]he work represented here is still challenging and genuinely eccentric, locating itself in an 'ethic' of love, reverie and revolt." --Sight & Sound "Hammond, who is the author of the invaluable anthology The Shadow and its Shadow: Surrealist Writing on the Cinema (1978), writes about cinema independently of the changing academic and cultural fashions of film theory and abhors the dogmas of contemporary border-patrol thought. His magnetically appealing free-wheeling form of erudite film-critical writing is recognisable for its iconoclastic humour, non-authoritarian verve and playful witty discursivity." --John Conomos, Senses of Cinema Paul Hammond is a writer, editor, and translator living in Barcelona. He is the author of Constellations of Miróoacute;, Breton which was published by City Lights.
What constitutes historical truth is often subject to change. Through ingenious detection, the accepted wisdom of one generation may become the discredited legend of another—or vice versa. In this wide- ranging study of historical investigation, former detective Joe Nickell allows the reader to look over his shoulder as he demonstrates the use of varied techniques in solving some of the world's most perplexing mysteries. All the major categories of historical mystery are here—ancient riddles, biographical enigmas, hidden identity, "fakelore," questioned artifacts, suspect documents, lost texts, obscured sources, and scientific challenges. Each is then illustrated by a complete case from the author's own files. Nickell's investigation of the giant Nazca drawings in Peru, for example—thought by some to provide proof of ancient extraterrestrial visitations—uses innovative techniques to reveal a very different origin. Other cases concern the 1913 disappearance of writer and journalist Ambrose Bierce, the authenticity of the Shroud of Turin, the truth about the identity of John Demjanjuk ("Ivan the Terrible" to Polish death camp victims), the fate of a lost colonial American text, the authenticity of Abraham Lincoln's celebrated Bixby letter, and the apparent real-life model for a mysterious character in a novel by Nathaniel Hawthorne. In reaching his solutions, Nickell demonstrates a wide variety of investigative techniques—chemical and instrumental analyses, physical experimentation, a "psychological autopsy," forensic identification, archival research, linguistic analysis, folklore study, and many others. His highly readable book will intrigue the scholar and the history buff no less than the mystery lover.
