Paperback Quarterly Vol 3 No 3 Fall 1980
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Author | : Ray Bradbury |
Publisher | : Wildside Press LLC |
Total Pages | : 60 |
Release | : 2010-09-01 |
Genre | : Literary Criticism |
ISBN | : 1434406334 |
Paperback Quarterly, journal of mass-market paperback history, Fall 1980, Volume 3 Number 3, contains: "Louis L'Amour's Pseudonymous Works," by John D. Nesbitt, "First Printing: Two Million," by Michael Barson, "Interview with John Jakes," by Michael Barson, "Reprints/Reprints: Ray Bradbury's FAHRENHEIT 451," by Bill Crider, "Agatha Christie in Dell Mapbacks," by Bill Lyles, "Soft Cover Sketches: an introduction," by Thomas L. Bonn, "Soft Cover Sketches: James Avati," by Thomas L. Bonn and "Collecting Original Paperback Cover Art," by Robert Weinberg.
Author | : United States. Advisory Commission on Intergovernmental Relations |
Publisher | : |
Total Pages | : 442 |
Release | : 1985 |
Genre | : State governments |
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Total Pages | : 688 |
Release | : 1981 |
Genre | : Solar energy |
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Author | : Chris Laoutaris |
Publisher | : Simon and Schuster |
Total Pages | : 372 |
Release | : 2023-03-30 |
Genre | : History |
ISBN | : 1639363270 |
The never-before-told story of how the makers of The First Folio created Shakespeare as we know him today. 2023 marks the 400-year anniversary of the publication of Mr William Shakespeare’s Comedies, Histories, & Tragedies, known today simply as the First Folio. It is difficult to imagine a world without The Tempest, Twelfth Night, Antony and Cleopatra, The Winter’s Tale, and Macbeth, but these are just some of the plays that were only preserved thanks to the astounding labor of love that was the first collected edition of Shakespeare’s plays. When the First Folio hit the bookstalls in 1623, nearly eight years after the dramatist’s death, it provided eighteen previously unpublished plays, and significantly revised versions of close to a dozen other dramatic works, many of which may not have survived without the efforts of those who backed, financed, curated, and crafted what is arguably one of the most important conservation projects in literary history. Without the First Folio Shakespeare is unlikely to have acquired the towering international stature he now enjoys across the arts, the pedagogical arena, and popular culture. Its lasting impact on English national heritage, as well as its circulation across cultures, languages, and media, makes the First Folio the world’s most influential secular book. But who were the personalities behind the project and did Shakespeare himself play a role in its inception Shakespeare’s Book: The Story Behind the First Folio and the Making of Shakespeare charts, for the first time, the manufacture of the First Folio against a turbulent backdrop of seismic political events and international tensions which intersected with the lives of its creators and which left their indelible marks on this ambitious publication-project. This story uncovers the friendships, bonds, social ties, and professional networks that facilitated the production of Shakespeare’s book—as well as the personal challenges, tragedies and dangers that threw obstacles in the path of its chief backers. It reveals how Shakespeare himself, before his death, may have influenced the ways in which his own public identity would come to be enshrined in the First Folio, shaping his legacy to future generations and determining how the world would remember him: "not of an age, but for all time." Shakespeare’s Book tells the true story of how the makers of the First Folio created “Shakespeare” as we know him today.
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Total Pages | : 640 |
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Genre | : Nuclear power plants |
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Total Pages | : 648 |
Release | : 1984 |
Genre | : Government publications |
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Publisher | : Academic Conferences Limited |
Total Pages | : 167 |
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Author | : Various |
Publisher | : Routledge |
Total Pages | : 8677 |
Release | : 2021-06-23 |
Genre | : History |
ISBN | : 1317268083 |
The greatest problem in historical scholarship, theoretically and practically, is the relation between historians and their subject matter. The past is gone and historians can only study its remnants. On what basis do scholars select certain facts from the mass of data left from the past? How do they explain the interrelationship of the facts they select? What criteria do they use to evaluate their subject? The 35 volumes in this set, originally published between 1926 and 1990 discuss and answer these essential questions faced by historians. The development of historical understanding during the 18th and 19th centuries was one of the most striking features of Western culture. Both historiography and historical thinking advanced as never before. The historial movment of the 19th century was perhaps second only to the scientific revolution of the seventeenth century in transforming Western thought. One consequence was extensive organisation and professionalization of research, which the volumes in this set reflect.
Author | : John Grumley |
Publisher | : Routledge |
Total Pages | : 256 |
Release | : 2016-03-31 |
Genre | : History |
ISBN | : 1317287533 |
In this work, originally published in 1989, the author establishes a tradition of radical historicism from Hegel to the Budapenst School. He charts both its continuous evolution from the early 19th century to the late 20thh, and its transformation in the context of European social, economic and cultural change. Through a reappraisal of historical interpretation from Hegel to Foucault, the book demonstrates the contemporary relevance of radical historicism. It includes detailed analyses of Marx, Dilthey, Simmel, Weber, Lukácks, Horkheimer, Adorno and Habermas.
Author | : Kristina Huneault |
Publisher | : McGill-Queen's Press - MQUP |
Total Pages | : 401 |
Release | : 2018-07-16 |
Genre | : Art |
ISBN | : 0773554033 |
Notions of identity have long structured women’s art. Dynamics of race, class, and gender have shaped the production of artworks and oriented their subsequent reassessments. Arguably, this is especially true of art by women, and of the socially engaged criticism that addresses it. If identity has been a problem in women’s art, however, is more identity the solution? In this study of nineteenth- and early twentieth-century art in Canada, Kristina Huneault offers a meditation on the strictures of identity and an exploration of forces that unsettle and realign the self. Looking closely at individual artists and works, Huneault combines formal analysis with archival research and philosophical inquiry, building nuanced readings of objects that range from the canonical to the largely unknown. Whether in miniature portraits or genre paintings, botanical drawings or baskets, women artists reckoned with constraints that limited understandings of themselves and others. They also forged creative alternatives. At times identity features in women’s artistic work as a failed project; at other times it marks a boundary beyond which they were able to expand, explore, and exult. Bringing together settler and indigenous forms of cultural expression and foregrounding the importance of colonialism within the development of art in Canada, I’m Not Myself at All observes and reactivates historical art by women and prompts readers to consider what a less restrictive conceptualization of selfhood might bring to current patterns of cultural analysis.