?Supposing that truth is a women?what then?” This is the very first sentence in Nietzsche’s Beyond Good and Evil. Not very often are philosophers so disarmingly explicit in their intention to discomfo
The Civil War is Julius Caesar's personal account of his war with Pompey the Great-the war which destroyed the five hundred-year old Roman Republic. Caesar the victor became Caesar the dictator. In th
Winner of the Minnesota Book Award for Fiction Winner of the Barnes & Noble Discover Award for Fiction Member of the National Writer's Voice Project Finalist Los Angeles Times Book Award In A
'As we expect from Bradbrook, always a pleasantly readable scholar, these papers consistently convey rich, penetrating, informative, durable perspectives on Shakespeare and the English Renaissance. St
A TODAY Show Summer Pick An Amazon Summer Beach Reads Pick A Barnes & Noble Best New Fiction of the Month Pick “Hilarious. . . . Gork is less Game of Thrones and more The Hitchhik
Women played a central role in literary modernism, theorizing, debating, writing, and publishing the critical and imaginative work that resulted in a new literary culture during the early twentieth century. This volume provides a thorough overview of the main genres, the important issues, and the key figures in women's writing during the years 1890–1945. The essays treat the work of Woolf, Stein, Cather, H. D. Barnes, Hurston, and many others in detail; they also explore women's salons, little magazines, activism, photography, film criticism, and dance. Written especially for this Companion, these lively essays introduce students and scholars to the vibrant field of women's modernism.
Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life.
Raymond Carver, Alice Munro, John Updike, Gabriel Garcia Marquez, Mavis Gallant, Julian Barnes, Michael Chabon, Jamaica Kincaid, John O'Hara, Muriel Spark, Ann Beattie, and William Maxwell are among t
Only in death could Bobby Barnes begin to understand the true nature of love.No one in Mattingly ever believed Bobby Barnes would live to see old age. Drink would either rot Bobby from the inside out
The Provincetown Players was a major cultural institution in Greenwich Village from 1916 to 1922, when American Modernism was conceived and developed. This study considers the group's vital role, and its wider significance in twentieth-century American culture. Describing the varied and often contentious response to modernity among the Players, Murphy reveals the central contribution of the group of poets around Alfred Kreymborg's Others magazine, including William Carlos Williams, Wallace Stevens, Mina Loy and Djuna Barnes, and such modernist artists as Marguerite and William Zorach, Charles Demuth and Bror Nordfeldt, to the Players' developing modernist aesthetics. The impact of their modernist art and ideas on such central Provincetown figures as Eugene O'Neill, Susan Glaspell, and Edna St Vincent Millay and a second generation of artists, such as e. e. cummings and Edmund Wilson, who wrote plays for the Provincetown Playhouse, is evident in Murphy's close analysis of over thirty pl
The New York Times bestselling author of Love Me Again returns to the town of Hope, Oklahoma where school is in session and love rules the playbook.Josie Barnes has always craved a sense of home. She'
The Provincetown Players was a major cultural institution in Greenwich Village from 1916 to 1922, when American Modernism was conceived and developed. This study considers the group's vital role, and its wider significance in twentieth-century American culture. Describing the varied and often contentious response to modernity among the Players, Murphy reveals the central contribution of the group of poets around Alfred Kreymborg's Others magazine, including William Carlos Williams, Wallace Stevens, Mina Loy and Djuna Barnes, and such modernist artists as Marguerite and William Zorach, Charles Demuth and Bror Nordfeldt, to the Players' developing modernist aesthetics. The impact of their modernist art and ideas on such central Provincetown figures as Eugene O'Neill, Susan Glaspell, and Edna St Vincent Millay and a second generation of artists, such as e. e. cummings and Edmund Wilson, who wrote plays for the Provincetown Playhouse, is evident in Murphy's close analysis of over thirty pl
Sometimes evil lingers so close, you can feel it....Seattle police sketch artist Maggie Barnes has an extraordinary gift. She listens as traumatized crime victims describe their ordeals — and then use
The Common Law changed America forever. The lectures---which were given at the Lowell Institute in Boston and subsequently published in 1880---created a buzz of excitement that enveloped the New Engl
