In this decisively innovative approach to Shakespeare's plays through their competitive relation to other choices from London's vast entertainment industry, Donald Hedrick recovers a coherent internal
From the multiple award-winning author of The Master and Brooklyn, an illuminating look at Irish culture, history, and literature through the lives of the fathers of three of Ireland’s greatest writers—Oscar Wilde's father, William Butler Yeats's father, and James Joyce's father—“Thrilling, wise, and resonant, this book aptly unites Tóibín’s novelistic gifts for psychology and emotional nuance with his talents as a reader and critic, in incomparably elegant prose” (The New York Times Book Review).Colm Tóibín begins his incisive, revelatory Mad, Bad, Dangerous to Know with a walk through the Dublin streets where he went to university and where three Irish literary giants came of age. Oscar Wilde, writing about his relationship with his father stated: “Whenever there is hatred between two people there is bond or brotherhood of some kind…you loathed each other not because you were so different but because you were so alike.” W.B. Yeats wrote of his father, a painter: “It is this infirmity
A dictionary records a language and a cultural world. This global history of lexicography is the first survey of all the dictionaries which humans have made, from the ancient civilizations of Mesopotamia, Egypt, China, India, and the Greco-Roman world, to the contemporary speech communities of every inhabited continent. Their makers included poets and soldiers, saints and courtiers, a scribe in an ancient Egyptian 'house of life' and a Vietnamese queen. Their physical forms include Tamil palm-leaf manuscripts and the dictionary apps which are supporting endangered Australian languages. Through engaging and accessible studies, a diverse team of leading scholars provide fascinating insight into the dictionaries of hundreds of languages, into the imaginative worlds of those who used or observed them, and into a dazzling variety of the literate cultures of humankind.
The 72nd in the annual series of volumes devoted to Shakespeare study and production. The articles are drawn from the programme of the International Shakespeare Conference held in Stratford-upon-Avon in the summer of 2018. The theme is 'Shakespeare and War'.
How can we tell plagiarism from an allusion? How does imitation differ from parody? Where is the line between copyright infringement and homage? Questions of intellectual property have been vexed long before our own age of online piracy. In Victorian Britain, enterprising authors tested the limits of literary ownership by generating plagiaristic publications based on leading writers of the day. Adam Abraham illuminates these issues by examining imitations of three novelists: Charles Dickens, Edward Bulwer Lytton, and George Eliot. Readers of Oliver Twist may be surprised to learn about Oliver Twiss, a penny serial that usurped Dickens's characters. Such imitative publications capture the essence of their sources; the caricature, although crude, is necessarily clear. By reading works that emulate three nineteenth-century writers, this innovative study enlarges our sense of what literary knowledge looks like: to know a particular author means to know the sometimes bad imitations that the
