2007, ISBN: 9780394422251
Gebundene Ausgabe
N.Y.: Appleton -Century-Crofts, 1952. 1st ed. [# 1 on last page of text]. Edges rubbed, corners bumped else very good, tight copy in dust jacket, price clipped, chip out at head, wear alo… Mehr…
N.Y.: Appleton -Century-Crofts, 1952. 1st ed. [# 1 on last page of text]. Edges rubbed, corners bumped else very good, tight copy in dust jacket, price clipped, chip out at head, wear along edges, rubbed. Lawrence Lariar was one the most popular cartoonists of the twentieth century. But from the 1940s through the 1960s, he also crafted a line of lean and mean detective and mystery novels under his own name as well as the pseudonyms Michael Stark, Adam Knight, Michael Lawrence, and Marston La France. Lariar now gets his due as a leading artist in hardboiled crime fiction. Tom Coyne’s hardscrabble childhood and criminal career have left him with no friends, no family, and no prospects for the future. All he has now is a death wish. A criminal acquaintance from his past offers to make it come true—with a perk Tom can’t refuse. He’ll give Coyne ten thousand bucks to go out with a bang on booze and pricey dolls on the beaches of Miami. Just one small trade off: an unexpected “accident” when Coyne’s time is up, and his benefactor will collect on his life insurance. What could go wrong? For starters, her name is Sue. The sweetest, most openhearted girl Coyne has ever met. Dammit if she hasn’t given him a reason to live. And with the hot breath of a hired killer on his neck, a reason to run.. 1st Edition. Hard Cover. Very Good/Very Good. Book., Appleton -Century-Crofts, 1952, 3, Having met with resistance in his attempts to reform the clergy in his native Xanten, Germany, Norbert (c. 1080-1134) founded a religious community in France. His establishment was the first house of what came to be a successful religious order, the Canons Regular of Pre'montre' (also known as the Premonstratensians or the Norbertines). Norbert was appointed archbishop of Magdeburg in 1126. Although he left almost no writings, his followers produced many essays, as they attempted to reform the clergy as they thought best. This book provides English translations of the twelfth-century disciples of Norbert. First, there is a preface by Andrew Ciferni, a Norbertine of Daylesford Abbey in Paoli, Pennsylvania. He speaks of the value of making such primary sources available, for the ongoing aggiornamento of his order.A 28-page introduction then provides the historical context for Norbert's work, explaining, for example, that his two important biographies are more complementary than contradictory. Above all, say the editors, it was Norbert's preaching that won followers to his cause. He was also instrumental in suppressing a heresy in Antwerp. He tried to set up priestly communities that were a middle way between monasticism and the life of canons who retained their income and assets.Third, several texts are presented in English, each with an introduction. The authors, for example, are Anselm of Havelberg, Herman of Tournai, and Philip of Harvengt. Also provided is a biography of an early Norbertine, Geoffrey of Cappenberg. This book is in the series "The Classics of Western Spirituality." 309 pages.Here is one of the few fragments of Norbert's actual writing, an excerpt of a letter to Pope Callixtus:"Reverend father, do you not recall the duty and the labor of preaching the Word of God, to which I have been appointed twice now, both by your predecessor of happy memory and also by you? But lest I give the impression that I refuse to submit to authority, I assent to your wish, except, of course, for my central intention. I am in no way able to alter this calling without grave detriment to my soul. It is this: not to seek what belongs to another; in no way to demand back through secular justice or legal process what has been stolen; not to entangle anyone in the bonds of anathema for any injuries or loss suffered. To sum up briefly, I have chosen to live simply the evangelical and apostolic life, rightly understood. Nevertheless, if the canons living in this church are not afraid to hold to this form of life, I do not refuse the burden.", Paulist Press, 2007, 6, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<
| usa, u.. | Biblio.co.uk |
1983, ISBN: 9780394422251
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back o… Mehr…
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<
| Biblio.co.uk |
1983, ISBN: 9780394422251
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back o… Mehr…
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another—and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien—and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention—or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<
| Biblio.co.uk |
1983, ISBN: 0394422252
Gebundene Ausgabe
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of … Mehr…
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. . keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021, Books<
| AbeBooks.de |
1983, ISBN: 0394422252
Gebundene Ausgabe
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of … Mehr…
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. . FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another—and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien—and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention—or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021, Books<
| AbeBooks.de |
2007, ISBN: 9780394422251
Gebundene Ausgabe
N.Y.: Appleton -Century-Crofts, 1952. 1st ed. [# 1 on last page of text]. Edges rubbed, corners bumped else very good, tight copy in dust jacket, price clipped, chip out at head, wear alo… Mehr…
N.Y.: Appleton -Century-Crofts, 1952. 1st ed. [# 1 on last page of text]. Edges rubbed, corners bumped else very good, tight copy in dust jacket, price clipped, chip out at head, wear along edges, rubbed. Lawrence Lariar was one the most popular cartoonists of the twentieth century. But from the 1940s through the 1960s, he also crafted a line of lean and mean detective and mystery novels under his own name as well as the pseudonyms Michael Stark, Adam Knight, Michael Lawrence, and Marston La France. Lariar now gets his due as a leading artist in hardboiled crime fiction. Tom Coyne’s hardscrabble childhood and criminal career have left him with no friends, no family, and no prospects for the future. All he has now is a death wish. A criminal acquaintance from his past offers to make it come true—with a perk Tom can’t refuse. He’ll give Coyne ten thousand bucks to go out with a bang on booze and pricey dolls on the beaches of Miami. Just one small trade off: an unexpected “accident” when Coyne’s time is up, and his benefactor will collect on his life insurance. What could go wrong? For starters, her name is Sue. The sweetest, most openhearted girl Coyne has ever met. Dammit if she hasn’t given him a reason to live. And with the hot breath of a hired killer on his neck, a reason to run.. 1st Edition. Hard Cover. Very Good/Very Good. Book., Appleton -Century-Crofts, 1952, 3, Having met with resistance in his attempts to reform the clergy in his native Xanten, Germany, Norbert (c. 1080-1134) founded a religious community in France. His establishment was the first house of what came to be a successful religious order, the Canons Regular of Pre'montre' (also known as the Premonstratensians or the Norbertines). Norbert was appointed archbishop of Magdeburg in 1126. Although he left almost no writings, his followers produced many essays, as they attempted to reform the clergy as they thought best. This book provides English translations of the twelfth-century disciples of Norbert. First, there is a preface by Andrew Ciferni, a Norbertine of Daylesford Abbey in Paoli, Pennsylvania. He speaks of the value of making such primary sources available, for the ongoing aggiornamento of his order.A 28-page introduction then provides the historical context for Norbert's work, explaining, for example, that his two important biographies are more complementary than contradictory. Above all, say the editors, it was Norbert's preaching that won followers to his cause. He was also instrumental in suppressing a heresy in Antwerp. He tried to set up priestly communities that were a middle way between monasticism and the life of canons who retained their income and assets.Third, several texts are presented in English, each with an introduction. The authors, for example, are Anselm of Havelberg, Herman of Tournai, and Philip of Harvengt. Also provided is a biography of an early Norbertine, Geoffrey of Cappenberg. This book is in the series "The Classics of Western Spirituality." 309 pages.Here is one of the few fragments of Norbert's actual writing, an excerpt of a letter to Pope Callixtus:"Reverend father, do you not recall the duty and the labor of preaching the Word of God, to which I have been appointed twice now, both by your predecessor of happy memory and also by you? But lest I give the impression that I refuse to submit to authority, I assent to your wish, except, of course, for my central intention. I am in no way able to alter this calling without grave detriment to my soul. It is this: not to seek what belongs to another; in no way to demand back through secular justice or legal process what has been stolen; not to entangle anyone in the bonds of anathema for any injuries or loss suffered. To sum up briefly, I have chosen to live simply the evangelical and apostolic life, rightly understood. Nevertheless, if the canons living in this church are not afraid to hold to this form of life, I do not refuse the burden.", Paulist Press, 2007, 6, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<
1983, ISBN: 9780394422251
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back o… Mehr…
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<
1983
ISBN: 9780394422251
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back o… Mehr…
New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. �. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another—and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien—and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention—or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021 ISBN: 0394422252., 0<
1983, ISBN: 0394422252
Gebundene Ausgabe
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of … Mehr…
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. . keywords: Literary Criticism Ireland Literature. FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another - and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien - and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention - or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021, Books<
1983, ISBN: 0394422252
Gebundene Ausgabe
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of … Mehr…
[EAN: 9780394422251], [PU: Knopf], LITERARY CRITICISM IRELAND LITERATURE, New York. 1983. Knopf. 1st American Edition. Very Good in Dustjacket. 0394422252. 301 pages. hardcover. Front of jacket (from left): Sean O'Casey, W. B. Yeats, and James Joyce. Back of jacket (from left): J. M. Synge, Oliver St. John Gogarty, Lady Gregory, and Samuel Beckett. Jacket painting by Edward Sorel. Jacket design by Carin Goldberg. . FROM THE PUBLISHER - From one of the finest critics at work in America today (Marianne Moore called him ‘entertaining and fearless'), a brilliant, funny, complicated, altogether dazzling account of the Irish Literary Revival, that surprising explosion of genius which first made itself heard in the last years of the nineteenth century and whose aftershocks are still rumbling through the world of letters. Here are Yeats, Joyce, Synge, O'Casey, Beckett, and the rest, disagreeing and complaining and sometimes helping one another—and at the same time producing, in the name of their tiny, impoverished, unlikely country, a literature as splendid and prepotent as anything in our time. Hugh Kenner's theme is the seizure of the English language by writers whose relation to it was oddly uncomfortable, even alien—and their creation of a new idiom that was to dominate and define International Modernism. His technique is anecdote and example. In his hands, biography jostles critical insight, social history erupts into choice quotation, ‘facts' reveal themselves to be invention—or another kind of literature. Witness the Playboy riots of 1907 at the Abbey Theatre (‘When it was all over not half a dozen sentences of Synge's play had been heard by anyone'); Yeats and George Moore trying to write a play together (Moore later remarked in his autobiography that he could see no way to convince his readers that ‘two such literary lunatics as Yeats and myself existed contemporaneously'); Synge establishing for the first time, to electrifying effect, what Kenner calls ‘this decorum of untactful speech' (Shakespeare, Joyce has Buck Mulligan remark in Ulysses, is ‘the chap that writes like Synge'); Joyce teaching Berlitz English in Trieste (‘Ulysses was a new kind of book altogether, a Berlitz classroom between covers'); the wit Oliver St. John room between covers'); Gogarty describing the plight of a surgeon mired in divorce proceedings: ‘He made his reputation with his knife and lost it with his fork'; British Kowitzers lobbing high explosives up Sackville Street the day after Easter 1916; the exquisitely funny Flann O'Brien explaining, with impeccable Jesuit logic, why many Irishmen are part bicycle (and vice versa); Samuel Beckett discovering that the Air France pilot flying him from Paris to London is named, of all things, Godot (‘at Heathrow an ashen Beckett required an immediate drink'); and so much else. It is impossible to do more than suggest the richness of this book. Nor can one easily do justice to the critical intelligence that informs it. As a work of serious scholarship, A Colder Eye is a creative and analytic enterprise on the scale of Kenner's magisterial The Pound Era; like that book, it causes us to see a time and a literary tradition in a whole new way, and does so with the kind of grace and energy that led Carlos Baker to say, ‘I'd rather read Kenner than any critic now operating.' inventory #5021, Books<
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Detailangaben zum Buch - A Colder Eye
EAN (ISBN-13): 9780394422251
ISBN (ISBN-10): 0394422252
Gebundene Ausgabe
Taschenbuch
Erscheinungsjahr: 1983
Herausgeber: Knopf
Buch in der Datenbank seit 2007-03-30T09:19:39+02:00 (Vienna)
Detailseite zuletzt geändert am 2024-03-24T10:17:07+01:00 (Vienna)
ISBN/EAN: 0394422252
ISBN - alternative Schreibweisen:
0-394-42225-2, 978-0-394-42225-1
Alternative Schreibweisen und verwandte Suchbegriffe:
Autor des Buches: von kenner, hugh kenner
Titel des Buches: modern irish, colder eye
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