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The Grimm legacy (Grimm Legacy Ser.)
Par Polly Shulman. 2010
Elizabeth gets an after-school job as a page at the New York Circulating Material Repository, which houses magical objects from…
the Grimm brothers' fairy tales. When items disappear Elizabeth and the other pages are drawn into frightening adventures involving mythical creatures and stolen goods. For grades 6-9. 2010War is: soldiers, survivors, and storytellers talk about war
Par Marc Aronson, Patty Campbell. 2009
Anthology of memoirs, poems, letters, and fiction that illustrate the life of a soldier at war. Servicemen and servicewomen, family…
members, journalists, and others depict experiences of adventure, terror, boredom, and mental and physical duress. Some violence and some strong language. For senior high readers. 2008Exercises in style (New Directions paperbook #513)
Par Raymond Queneau, Barbara Wright. 1981
"A new edition of a French modernist classic - a Parisian scene told ninety-nine different ways - with new material…
written in homage by the likes of Jonathan Lethem, Rivka Galchen, and many more. On a crowded bus at midday, Raymond Queneau observes one man accusing another of jostling him deliberately. When a seat is vacated, the first man appropriates it. Later, in another part of town, Queneau sees the man being advised by a friend to sew a new button on his overcoat. Exercises in Style--Queneau's experimental masterpiece and a hallmark book of the Oulipo literary group--retells this unexceptional tale ninety-nine times, employing the sonnet and the alexandrine, onomatopoeia and Cockney. An "Abusive" chapter heartily deplores the events; "Opera English" lends them grandeur. Queneau once said that of all his books, this was the one he most wished to see translated. He offered Barbara Wright his "heartiest congratulations," adding: "I have always thought that nothing is untranslatable. Here is new proof." To celebrate the 65th anniversary of the 1947 French publication of Exercises de Style, New Directions has asked several writers to contribute new exercises as a tribute. Tantalizing examples include Jonathan Lethem's "Cyberpunk," Harry Mathew's "Phonetic Eros," and Frederic Tuten's "Beatnik" exercises. This edition also retains Barbara Wright's original introduction and reminiscence of working on this book--a translation that in 2008 was ranked first on the Author's Society's list of "The 50 Outstanding Translations of the Last 50 Years."" -- Provided by publisherFakes: an anthology of pseudo-interviews, faux-lectures, quasi-letters, "found" texts, and other fraudulent artifacts
Par David Shields, Matthew Vollmer. 2012
Selection of previously published works that parody or satirize common types of writing. Includes a police log showing officers' increasing…
exasperation with their community, a school's alumni newsletter, and a note on typefaces by Jonathan Safran Foer, author of Eating Animals (DB 70373). 2012The Gentle Art of Making Enemies
Par James M. Whistler. 1967
Whistler's Gentle Art, a classic in the literature of insult and denigration, might well be subtitled "The Autobiography of a…
Hater," for it contains the deadly sarcasm and stinging remarks of one of the wittiest men of the nineteenth century. Whistler not only refused to tolerate misunderstanding by critics and the so-called art-loving public -- but launched vicious counterattacks as well. His celebrated passages-at-arms with Oscar Wilde and Swinburne, the terse and penetrating "letters to the editor," his rebuttals to attacks from critics, and biting marginal notes to contemptuous comments on his paintings and hostile reviews (which are also reprinted) are all part of this record of the artist's vendettas.Whistler's most famous battle began when critic John Ruskin saw one of the artist's "Nocturnes" exhibited in Grosvenor Gallery. "I have seen, and heard," wrote Ruskin, "much of cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." Whistler was incensed with this criticism, and initiated the famous libel case "Whistler vs. Ruskin." Extracts from the resultant trial record are among the highlights of this book, with Whistler brilliantly annihilating his Philistine critics, but winning only a farthing in damages.The Gentle Art, designed by Whistler himself, is a highly entertaining account of personal revenges, but it is also an iconoclast's plea for a new and better attitude toward painting. As a historical document, it is the best statement of the new aesthetics versus the old guard academics, and it helped greatly in shaping the modern feeling toward art.The Breaking Jewel: A Novel (Weatherhead Books on Asia)
Par Makoto Oda. 2003
Set on an island in the South Pacific during the final days of World War II, when the tide has…
turned against Japan and the war has unmistakably become one of attrition, The Breaking Jewel offers a rare depiction of the Pacific War from the Japanese side and captures the essence of Japan's doomed imperial aims. The novel opens as a small force of Japanese soldiers prepares to defend a tiny and ultimately insignificant island from a full-scale assault by American forces. Its story centers on squad leader Nakamura, who resists the Americans to the end, as he and his comrades grapple with the idea of gyokusai (translated as "the breaking jewel" or the "pulverization of the gem"), the patriotic act of mass suicide in defense of the homeland. Well known for his antiestablishment and antiwar sentiments, Makuto Oda gradually and subtly develops a powerful critique of the war and the racialist imperial aims that proved Japan's undoing.Writers at War addresses the most immediate representations of the First World War in the prose of Ford Madox Ford,…
May Sinclair, Siegfried Sassoon and Mary Borden; it interrogates the various ways in which these writers contended with conveying their war experience from the temporal and spatial proximity of the warzone and investigates the multifarious impact of the war on the (re)development of their aesthetics. It also interrogates to what extent these texts aligned with or challenged existing social, cultural, philosophical, and aesthetic norms. While this book is concerned with literary technique, the rich scholarship on questions of gender, trauma, and cultural studies on WWI literature serves as a foundation. This book does not oppose these perspectives but offers a complementary approach based on close critical reading. The distinctiveness of this study stems from its focus on the question of representation and form and on the specific role of the war in the four authors’ literary careers. This is the first scholarly work concerned exclusively with theorising writing produced from the immediacy of the war. This book is intended for academics, researchers, PhD candidates, postgraduates and anyone interested in war literature.