The year is 1867. A box treasured by a distinguished American exile in England is stolen; three battle-hardened ex-Southern soldiers from the recently ended American Civil War arrive on an unusual mission; two go on a hectic pursuit of the box in Liverpool and London; the third takes a path that could lead to the gallows... A newspaper announcement echoing a poem by the poet-priest of the Southern Confederacy intrigues Roberta Van Trask, daughter of an American diplomat in London. It causes detective Septimus Dacers and herself to risk their lives as they attempt to foil a grotesque scheme which could cause war between Britain and the United States... An exciting historical mystery!
Julian the Apostate was the nephew of Emperor Constantine the Great. Julian ascended to the throne in A.D. 361, at the age of twenty-nine, and was murdered four years later after an unsuccessful attempt to rebuke Christianity and restore the worship of the old gods. Now this historical tapestry is brought to vibrant life by the dazzling talent of Gore Vidal.
The evil DomDaniel has been disposed of, but something Darke is stirring. A shadow pursues Wizard Marcia Overstrand around, growingstronger every day. Septimus senses something sinister is afoot. He must rescue his sister.
William Butler Yeats was born near Dublin in 1865, and was encouraged from a young age to pursue a life in the arts. He attended art school for a short while, but soon found that his talents and interest lay in poetry rather than painting. His father's love of reading aloud exposed Yeats early on to William Shakespeare, the Romantic poets and the pre-Raphaelites, and developed an interest in Irish myths and folklore. As a result, he became an instrumental figure in the "Irish Literary Revival" of the 20th Century that redefined Irish writing. In 1899 Yeats helped found the Irish National Theatre Society, which later became the famous Abbey Theatre of Dublin. He was awarded the Nobel Prize in Literature in 1923, and received honorary degrees from Queen's University (Belfast), Trinity College (Dublin), and the Universities of Oxford and Cambridge. In this volume we find one of Yeats' lesser-known works, "The Player Queen."
Thoroughly revised and expanded for a new generation of readers, this classic guide to enjoying literature to its fullest—a lively, enlightening, and entertaining introduction to a diverse range of writing and literary devices that enrich these works, including symbols, themes, and contexts—teaches you how to make your everyday reading experience richer and more rewarding. While books can be enjoyed for their basic stories, there are often deeper literary meanings beneath the surface. How to Read Literature Like a Professor helps us to discover those hidden truths by looking at literature with the practiced analytical eye—and the literary codes—of a college professor. What does it mean when a protagonist is traveling along a dusty road? When he hands a drink to his companion? When he’s drenched in a sudden rain shower? Thomas C. Foster provides answers to these questions as he explores every aspect of fiction, from major themes to literary models, narrative devices, and form. Offering a broad overview of literature—a world where a road leads to a quest, a shared meal may signify a communion, and rain, whether cleansing or destructive, is never just a shower—he shows us how to make our reading experience more intellectually satisfying and fun. The world, and curricula, have changed. This third edition has been thoroughly revised to reflect those changes, and features new chapters, a new preface and epilogue, as well as fresh teaching points Foster has developed over the past decade. Foster updates the books he discusses to include more diverse, inclusive, and modern works, such as Angie Thomas’s The Hate U Give; Emily St. John Mandel’s Station Eleven; Neil Gaiman’s Neverwhere; Elizabeth Acevedo’s The Poet X; Helen Oyeyemi's Mr. Fox and Boy, Snow, Bird; Sandra Cisneros’s The House on Mango Street; Zora Neale Hurston’s Their Eyes Were Watching God; Maggie O’Farrell’s Hamnet; Madeline Miller’s Circe; Pat Barker’s The Silence of the Girls; and Tahereh Mafi’s A Very Large Expanse of Sea.
Shadow of the Third Century: A Revaluation of Christianity, first published in 1949, begins with the assertions that a true history of Christianity has never before been written and that the roots of the Christian religion lie in earlier religions and philosophies of the ancient world. The author, Alvin Boyd Kuhn, asserts that Christianity as we know it took the form it did due to a degeneration of knowledge rather than to an energization produced by a new release of light and truth into the world. In the ancient world, knowledge was commonly passed down by esoteric traditions, its inner meaning known only to the initiated. The Gospels, according to Kuhn, should therefore be understood as symbolic narratives rather than as history. Sacred scriptures are always written in a language of myth and symbol, and the Christian religion threw away and lost their true meaning when it mistranslated this language into alleged history instead of reading it as spiritual allegory. This literalism necessarily led to a religion antagonistic toward philosophy. Moreover, it produced a religion that failed to recognize its continuity with, and debt to, earlier esoteric schools. As evidence of this, Kuhn finds that many of the gospel stories and sayings have parallels in earlier works, in particular those of Egypt and Greece. The transformation of Jesus’ followers into Pauline Christians drew on these sources. Moreover, the misunderstanding of true Christianity led to the excesses of misguided asceticism. Overall, the book seeks to serve as a “clarion call to the modern world to return to the primitive Christianity which the founder of Christian theology, Augustine, proclaimed had been the true religion of all humanity.” With its many citations from earlier works, Shadow of the Third Century also serves as a bibliographic introduction to alternative histories of Christianity.
Understanding Dance is a comprehensive introduction to the aestethetics of dance, and will be an essential text for all those interested in dance as an object of study. Focusing on the work of a number of major choreographers, companies and critics Graham McFee explores the nature of our understanding of Dance by considering the practice of understanding dance-works themselves. He concludes with a validation of the place of dance in society and in education. Troughout he provides detailed insights into the nature and appreciation of art as well as a general grouding in philosophy.
