Breaking Bounds

Breaking Bounds
Author: Betsy Erkkila
Publisher: Oxford University Press, USA
Total Pages: 309
Release: 1996
Genre: Homosexuality and literature
ISBN: 019509350X

"One of the most diverse, important, exciting, and responsible collections of critical essays on Whitman ever published....[Restores] the vital, conspicuous, "special" relationship between the political and sexual in Whitman's life and work."--Walt Whitman Quarterly Review>.

Breaking Bounds

Breaking Bounds
Author: William A. Ewing
Publisher:
Total Pages: 132
Release: 1992-08
Genre: Art
ISBN:

Greenfield and the eminent photographic historian and curator William A. Ewing, who has arranged these examples of her work into five sections that he calls Solo, Duo, Restraint/Release, Fission/Fusion and Breaking Bounds. He also provides an introduction and an interview with Lois Greenfield that charts her development from a young photojournalist to one of the finest photographers of the day. Lois Greenfield is recognized internationally as among the foremost.

The White Feather

The White Feather
Author: P. G. Wodehouse
Publisher: tredition
Total Pages: 146
Release: 2022-05-06
Genre: Juvenile Nonfiction
ISBN: 3347641035

The White Feather - P. G. Wodehouse - The White Feather is a novel by P. G. Wodehouse, first published on 9 October 1907 by A & C Black, London. It is set at Wrykyn school, scene of Wodehouse's earlier book The Gold Bat (1904), and the later Mike (1909). Like many early Wodehouse novels, the story first appeared as a serial in the boys' magazine The Captain, between October 1905 and March 1906. The phrase "white feather" is a reference to cowardice. Sir Pelham Grenville Wodehouse, KBE (15 October 1881 – 14 February 1975) was an English author and one of the most widely read humorists of the 20th century. His creations include the feather-brained Bertie Wooster and his sagacious valet, Jeeves; the immaculate and loquacious Psmith; Lord Emsworth and the Blandings Castle set; the Oldest Member, with stories about golf; and Mr Mulliner, with tall tales on subjects ranging from bibulous bishops to megalomaniac movie moguls. Born in Guildford, the third son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school he was employed by a bank but disliked the work and turned to writing in his spare time. His early novels were mostly school stories, but he later switched to comic fiction. Most of Wodehouse's fiction is set in his native United Kingdom, although he spent much of his life in the US and used New York and Hollywood as settings for some of his novels and short stories. He wrote a series of Broadway musical comedies during and after the First World War, together with Guy Bolton and Jerome Kern, that played an important part in the development of the American musical. He began the 1930s writing for MGM in Hollywood. In a 1931 interview, his naive revelations of incompetence and extravagance in the studios caused a furore. In the same decade, his literary career reached a new peak. In 1934 Wodehouse moved to France for tax reasons; in 1940 he was taken prisoner at Le Touquet by the invading Germans and interned for nearly a year. After his release he made six broadcasts from German radio in Berlin to the US, which had not yet entered the war. The talks were comic and apolitical, but his broadcasting over enemy radio prompted anger and strident controversy in Britain, and a threat of prosecution. Wodehouse never returned to England. From 1947 until his death he lived in the US, taking dual British-American citizenship in 1955. He died in 1975, at the age of 93, in Southampton, New York.

The White Feather

The White Feather
Author: Pelham Grenville Wodehouse
Publisher: ReadHowYouWant.com
Total Pages: 266
Release: 1986
Genre:
ISBN: 1442932643

Critical Rhythm

Critical Rhythm
Author: Ben Glaser
Publisher: Fordham Univ Press
Total Pages: 422
Release: 2019-01-08
Genre: Literary Criticism
ISBN: 0823282058

This book shows how rhythm constitutes an untapped resource for understanding poetry. Intervening in recent debates over formalism, historicism, and poetics, the authors show how rhythm is at once a defamiliarizing aesthetic force and an unstable concept. Distinct from the related terms to which it’s often assimilated—scansion, prosody, meter—rhythm makes legible a range of ways poetry affects us that cannot be parsed through the traditional resources of poetic theory. Rhythm has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice and even identity. Through exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form offering ready-made resources for interpretation. Pressing beyond poetry handbooks’ isolated descriptions of technique or inductive declarations of what rhythm “is,” the essays ask what it means to think rhythm. Rhythm, the contributors show, happens relative to the body, on the one hand, and to language, on the other—two categories that are distinct from the literary, the mode through which poetics has tended to be analyzed. Beyond articulating what rhythm does to poetry, the contributors undertake a genealogical and theoretical analysis of how rhythm as a human experience has come to be articulated through poetry and poetics. The resulting work helps us better understand poetry both on its own terms and in its continuities with other experiences and other arts. Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins, Haun Saussy