Search results for ""Author Ross"

Dante Gabriel Rossetti, poet, painter, aesthete, founder member of the Pre-Raphaelite Brotherhood, was one of the most influential British artists to have lived. His extraordinary and obsessive vision was fuelled by the tortured love he felt for three muses: the tragic Lizzy Siddal, into whose coffin Rossetti cast the only manuscript of his poems (only to have her exhumed and the volume retrieved years later); the earthy former sex worker Fanny Cornforth; and Jane Burden, the statuesque wife of his friend William Morris. During the whole of his life Rossetti returned to the three faces, sometimes combining them, in his bid to encapsulate the nature of woman. The portraits he made range from rapid, vivid sketches to careful drawings and fully worked out allegorical paintings. Few artists have so relentlessly followed a particular vision; it is not surprising that Rossetti's haunting and sensual paintings were admired by the Symbolists and Picasso alike. With two essays by the leading scholar of Rossetti, Christopher Newall, and Holburne curator Sylvie Broussine, richly illustrated with 75 images including ravishing details in full page and spreads, this is a magnificent but approachable introduction to the riches and strangeness of Rossetti's art.

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An exciting addition to Everyman's Library: a new series of small, handsome hardcover volumes devoted to the world's classic poets. Our books will have twice as many pages as Bloomsbury Classics' 128pp and will cost 7. 99 against Bloomsbury's 9. 99. The binding, paper and production will be visibly superior in every way to that of Bloomsbury

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Coal mining is the second oldest industry in Britain after agriculture. As big coalmines developed to cope with the output to feed the Industrial Revolution, many small-scale moorland pits — including those around Rawtenstall, Bacup, Rochdale, Littleborough and Heywood — were still worked to provide fuel for local markets, households, farms, mills, factories and foundries. These small, private coal mines were often worked on a shoestring budget, and the miners themselves toiled in extreme conditions using methods of mining hundreds of years old. Written by a former miner, this book recalls an industry now long gone, of accidents and deaths, of child labour and the owners of these mines, as well as the proud men who toiled below ground, sometimes hundreds of feet down, others in coal seams less than eighteen inches high. Illustrated with 50 images, this book a lasting record of the East Lancashire Coalfields.

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Rossini’s success in Italy in the early 1820s was certainly not echoed in France, where he was regarded as “an ill-bred parvenu, whose cheap popularity was an insult to a great musical tradition”. Stendhal was the first of his contemporaries to recognize the genius of this important Italian composer. Besides being a fascinating and penetrating account of the Italian composer’s most creative years, and of contemporary musical events and opinions, this work is one of the finest items in the Stendhalian literary canon. Details of Rossini’s early life are followed by penetrating discussions of the operas, libretti, personalities of the period and Rossini’s own character.

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Nestling in an exquisite glen just seven miles from the centre of Edinburgh, Rosslyn Chapel is one of the world''s most extraordinary places. Ever since it was built in the mid fifteenth century it has cast a mesmerising spell over all who have visited it, exuding an aura of profound mystery, as if it holds the key to some vast, unearthly secret. Six hundred years later it continues to confound and intrigue, inspiring stories of The Knights Templar, the Holy Grail and a myriad of esoteric beliefs, most notably in the 1980s bestseller The Holy Blood and the Holy Grail and Dan Brown''s The Da Vinci Code, which made the chapel known to millions throughout the word.In this book Roddy Martine sifts through mounds of unfounded conjecture and fantasy to make sense of it all. The Secrets of Rosslyn is the only book that lets the facts speak for themselves, showing ultimately that the truth is no less amazing than fiction.

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Alison Rossiter’s large-format homage to the sculptural properties of photographic paper This volume documents 12 paper works made from the earliest expired photographic papers in the collection of New York–based artist Alison Rossiter (born 1953), created in honor of Anna Atkins, the first person to illustrate a book with photographs. The exact expiration dates of these papers pinpoint their location on a timeline and coexist with events in world history. No matter what the light-sensitive materials have endured through dormant years, they still respond to chemical development, and the resulting photographic tones are evidence of experience. Physical damage, moisture and mold produce tonal changes when developed. This book, a copublication with the New York Public Library and Yossi Milo, includes all 12 works from the series at actual scale, along with close-up details. The reference dates, which cover world events such as World War II, and art historical references such as Picasso’s Blue Period, are included at the back.

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The first art book to explore Rossetti's art and poetry together, including her own artworks, illustrations to her writing, and art inspired by her Christina Rossetti (1830–1894) is among the greatest of English Victorian poets. The intensity of her vision, her colloquial style, and the lyrical quality of her verse still speak powerfully to us today, while her striking imagery has always inspired artists. Rossetti lived in an exceptionally visual environment: her brother, Dante Gabriel Rossetti, was the leading member of the avant-garde Pre-Raphaelite Brotherhood, and she became a favorite model for the group. She sat for the face of Christ in William Holman Hunt’s The Light of the World, while both John Everett Millais and Frederick Sandys illustrated her poetry. Later on, the pioneering photographer Julia Margaret Cameron and the great Belgian Symbolist Fernand Khnopff were inspired by Rossetti’s enigmatic verses. This engaging book explores the full artistic context of Rossetti’s life and poetry: her own complicated attitude to pictures; the many portraits of her by artists, including her brother, John Brett, and Lewis Carroll; her own intriguing and virtually unknown drawings; and the wealth of visual images inspired by her words.Published in association with Watts GalleryExhibition Schedule:Watts Gallery, Guildford, Surrey (11/13/18–03/17/19)

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Evelyn Waugh's first book: a portrait of one of the greatest artists of the nienteenth century, from one of the greatest writers of the twentieth'Biography, as books about the dead are capriciously catalogued, is still very much in the mode'This is a sparkling account of Dante Gabriel Rossetti's tragic and mysterious life, telling the story behind some of the greatest poetry and painting of the nineteenth century. Shot through with charm and dry wit, and illuminated by his sense of kinship with the Pre-Raphaelite artist, Rossetti is at once a brilliant reevaluation of Rosetti's work and legacy, as well as a blast of defiance against the art establishment of Waugh's day.'The youthful high spirits of the writing make this a true cultural delight' New Statesman'To be celebrated with fireworks, bunting and marching bands' Country Life

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ROSSI’S PRINCIPLES OF TRANSFUSION MEDICINE Transfusion Medicine impacts patients with hematologic, oncologic, and surgical conditions as well as all areas of critical care medicine and multiple areas of chronic care. This book aims to be the single best source for information related to any aspect or application of Transfusion Medicine. Contributors for the sixth edition have once again been drawn from various scientific, medical, and surgical disciplines. Thus, this book ranges from encouraging and managing donors, to collecting and preserving the blood, to matching it to the appropriate recipient, all the way to its clinical uses. It also extends these concepts to implantable tissue and regenerative medicine. Other sample topics covered within the work include: Contemporary issues in donation and transfusion: patient blood management, clinical and technical aspects of blood administration, and donor and patient Hemovigilance Blood components and derivatives: red blood cell metabolism, preservation and oxygen delivery, blood groups, and composition of plasma Apheresis, transplantation, and new therapies: hematopoietic growth factors, therapeutic phlebotomy and cellular apheresis, HLA antigens, alleles, and antibodies How Transfusion Medicine has been affected by the coronavirus pandemic, the role of pathogen reduction and other modern trends This book serves as a complete and comprehensive resource on Transfusion Medicine for clinicians who prescribe blood, students who expect to enter clinical practice, and for the scientists, physicians, nurses, technologists, and others who assure the quality and availability of blood services.

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Christina Rossetti's poetry and prose, written in 19th-century England, deals with the human fixation on appearance. Her belief in the Tractarian precepts of the Oxford Movement, primarily expostulated by John Keble and John Newman, transformed Rossetti's outlook on perception. Her association with the Pre-Raphaelite Brotherhood also influenced her obsession with sight and insight. The focus of Melanie Hanson's study is the re-envisionment of Christina Rossetti's poetry and prose from three theoretical perspectives: deconstructionist theory, feminist literary theory, and Marxist literary criticism. The first part of her book explores Christina Rossetti's fascination with Plato's eye of the mind in The Allegory of the Cave. Rossetti believed that the physical eyes must be shut so that the eye of the mind could be wide open, creating in-sight. She connected the eye of the mind to her Tractarian religious beliefs. In her writings, the 'eye of the mind also relates to Eastern religious philosophy. The 'eye of the mind sees an alternate perception of reality. Rossetti was not only obsessed with the gaze and the object of the gaze in her writing, but she also re-fashioned John Milton's Eve from Paradise Lost into her own vision of Eve and the creation cycle in Rossetti's poetry and prose. Part 2 asserts that the author, Melanie Hanson, believes Rossetti's re-envisionment of the figure of Eve in Rossetti's writing contributes to the emergence of feminist literary criticism in the 20th century. Although Christina Rossetti was not a feminist, her poetry and prose have been examined by post-modern feminists concerning psychoanalytic and historic issues. Rossetti's envisionment of the consumed consumer is the subject of part 3, in which Marxist literary theory is used to examine Rossetti's epic poem Goblin Market. Previous literary criticism discussions concerning Rossetti's poetic and prose observations on the eye lack a concentrated examination of Rossetti's interest in Plato, especially Plato's eye of the mind, and Plato's influence on Rossetti. Hanson's book addresses this ground-breaking area of study. Her book is aimed at Christina Rossetti scholars and English Victorian literature aficionados who wish to explore Rossetti's contribution to the literary canon from new angles in literary criticism.

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Breakdown and attempted suicide, and co-tenancy of Kelmscott Manor with Morris, balanced by usual professional concerns. The best of these letters, flowing rapidly from his pen, radiate charisma and enthusiasm, warmth and care for his friends, and a total engagement with art and literature. JULIAN TREUHERZ, BURLINGTON MAGAZINE [on I. and II.] These years were the most tumultuous of Rossetti's life. His breakdown and attempted suicide inevitably makes the letters of this period exceptionally poignant, but the volume contains many letters relating to his life and work. Throughout most of 1871 he was writing and painting; he became, with William Morris, a co-tenant of Kelmscott Manor, bringing him close to Jane Morris and also to the two Morris daughters. In October the name of Robert Buchanan entersthe letters as the likely author of 'The Fleshly School of Poetry', and an alarming unease can be sensed. Following his attempted suicide and eventual return to Kelmscott, the letters increase in number - affectionate, considerate and businesslike by turns, with a certain morbidity at times; many letters are concerned with helping Ford Madox Brown's application for the Slade Professorship at Cambridge. The wider world of Victorian London is present: Turgenev comes to dinner, Browning sends his new volumes, Swinburne arrives drunk, and the American poet and adventurer Joaquin Miller makes himself known to the Rossetti circle. Nine appendices include five devoted to Poems and one tothe Fleshly School controversy.

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Major edition revealing key ideas and events in the lives and work of the Pre-Raphaelite brotherhood and Victorian literary circles: 5,800 letters (including 2,000 previously unpublished letters) to 330 recipients. 1855-1862: This nine-volume editionl represents the definitive collection of extant Rossetti correspondence, an outstanding primary witness to the range of ideas and opinions that shaped Rossetti's art and poetry. The largest collection of Rossetti's letters ever to be published, it features all known surviving letters, a total of almost 5,800 to over 330 recipients, and includes 2,000 previously unpublished letters by Rossetti and selected letters to him.In addition to this, about 100 drawings taken from within letter texts are also reproduced. In its entirety the collection will give an invaluable and unparalleled insight into Rossetti's character and art, and will form a rich resource for students and scholars studying all aspects of his life and work. The correspondence has been transcribed from collections in sixty-four manuscript repositories, containing Rossetti's letters to his companions inthe Pre-Raphaelite Brotherhood, Hunt and Stephens; friends such as Boyce and Bell Scott; his early patrons, Ellen Heaton and James Leathart; and his publisher friend, Alexander Macmillan. An additional twenty-two printed sources have also been accessed. Index; extensive annotations. WILLIAM E. FREDEMAN (1928-1999) was professor of English at the University of British Columbia from 1956-1991. His many books, articles and reviews on the Pre-Raphaelites and their followers include his important Pre-Raphaelitism: A Bibliocritical Study. He died in 1999 with this edition almost completed; LEONARD ROBERTS is an art historian and author of Arthur Hughes: His Life and Works.

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Part of the Crane Classics series, featuring the poetry of Christina Rossetti.

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Following the death of Elizabeth Siddal in 1862 and his settling in Chelsea, Rossetti entered on a period of his life -- charted in volume 3 -- that was marked by renewed activity as a painter and increased financial prosperity.The years 1868-1870 covered by volume 4 culminate in his return to writing poetry and the publication in June 1870 of his long-anticipated and widely-read Poems. However, despite the satisfaction that he could take from his standing as a painter and from the fact that he was about to establish himself as a poet, 1868-1870 were troubled years for Rossetti. Problems with his eyesight led him to give up painting for long periods, and to fear that, like his father before him, he would end his days blind. He consulted Sir William Bowman and other leading ophthalmologists, who eased his mind sufficiently for him to return to his easel. This was also the time when he declared his lovefor Jane Morris, the wife of his long-time friend and admirer William Morris. In his long, moving letters to Janey we come face to face with the satisfactions and frustrations of their relationship. The letters to Janey provide acontext for understanding the many paintings and drawings from this period for which she was the model, and for gauging the biographical origins of the sonnets, written at this time for the sequence, The House of Life, an early version of which was included in Poems.Probably the most rewarding letters in the volume concern the preparation of Poems. The letters deal at length with Rossetti's decision to have his poems typeset for distribution to friends,the exhumation of Elizabeth Siddal's coffin to recover the manuscript of his poems, his obsessive care over the physical appearance of the volume, especially the binding , and his efforts at "working the oracle," William Bell Scott's description of his methodically lining up sympathetic reviewers.As with all of Rossetti's correspondence, the letters in volume 4 are replete with pointed and sometimes humorous commentary on an array of people and events, ranging from Edward Burne-Jones's affair with "the Greek damzel," Mary Zambaco, and Frederick Sandys's appropriation of subjects from his pictures, to his unease over Swinburne's uncontrollable drunkenness, and his ominous hatred of Robert Buchanan, the author of the "Fleshly School" attack on his poetry in the Contemporary Review of October 1871, which became a major cause of the disastrous events of the years 1871-1872.

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The Life of Saint Neilos of Rossano is a masterpiece of historically accurate Italo-Greek monastic literature. Neilos, who died in 1004, vividly exemplifies the preoccupations of Greek monks in southern Italy under the Byzantine Empire. A restless search for a permanent residence, ascetic mortification of the body, and pursuit by enemies are among the concerns this text shares with biographies of other saints from the region. Like many of his peers, Neilos lived in both hermitages and monasteries, torn between the competing conventions of solitude and community. The Life of Neilos offers a snapshot of a distinctive time when Greek and Latin monasticism coexisted, a world that vanished after the schism between the churches of Rome and Constantinople in 1054. This is the first English translation, with a newly revised Greek text.

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The ‘Anti-Sicilians’ have invariably been a popular choice at all levels of the game. Analysis of this opening in previous literature has rarely been extensive due to the misconception that Anti-Sicilians are simplistic and thus, easy to play ‘by hand’. While maintaining the ideals of straightforward plans and digestible variations, this series of volumes will attempt to integrate ‘Anti-Sicilians’ into mainstream theory – with a particular focus on negating Black’s attempts to achieve any significant activity. This first volume provides significant coverage of the Rossolimo variation – perhaps the most pertinent example of how an ‘Anti-Sicilian’ has emerged to become arguably even more popular than its counterpart, 3.d4 after 2…Nc6. With a particular emphasis on analysing multiple alternatives within each critical variation, this book should appeal to anyone wishing to update and expand their knowledge and understanding of the fashionable Rossolimo.

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Dante Gabriel Rossetti (1828–1882), best known and admired for his striking and seductive portraits of women, was one of the founding members of the Pre-Raphaelite Brotherhood, a group of artists whose work is inspired by the art of the early Italian Renaissance. Rossetti’s powerful and unconventional portraits, with their sumptuous, jewel-like colours, are explored in this beautiful gift book. Examples have been drawn from the full range of Rossetti’s work – including paintings, drawings, print illustrations, decorative designs and staged photographs – and chart the artist’s lively engagement with mythology, history, literature, biblical subjects and modern life. Rossetti defined his experiences through his passion for his subjects and this book traces his deliberate intertwining of art and life. His models such as Jane Morris, Elizabeth Siddal and his sister Christina, were his inspiration and, in his rejection of conventional beauty, he redefined difference as desirable. Through his view of women – in which admiration veered towards fixation, praise towards possession – Rossetti confronted the staid 19th-century public with a new and powerful image of women, and the allure of that power is still felt today.With 126 illustrations in colour

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Following the death of Elizabeth Siddal in 1862 and his settling in Chelsea, Rossetti entered on a period of his life -- charted in volume 3 -- that was marked by renewed activity as a painter and increased financial prosperity.The years 1868-1870 covered by volume 4 culminate in his return to writing poetry and the publication in June 1870 of his long-anticipated and widely-read Poems. However, despite the satisfaction that he could take from his standing as a painter and from the fact that he was about to establish himself as a poet, 1868-1870 were troubled years for Rossetti. Problems with his eyesight led him to give up painting for long periods, and to fear that, like his father before him, he would end his days blind. He consulted Sir William Bowman and other leading ophthalmologists, who eased his mind sufficiently for him to return to his easel. This was also the time when he declared his lovefor Jane Morris, the wife of his long-time friend and admirer William Morris. In his long, moving letters to Janey we come face to face with the satisfactions and frustrations of their relationship. The letters to Janey provide acontext for understanding the many paintings and drawings from this period for which she was the model, and for gauging the biographical origins of the sonnets, written at this time for the sequence, The House of Life, an early version of which was included in Poems.Probably the most rewarding letters in the volume concern the preparation of Poems. The letters deal at length with Rossetti's decision to have his poems typeset for distribution to friends,the exhumation of Elizabeth Siddal's coffin to recover the manuscript of his poems, his obsessive care over the physical appearance of the volume, especially the binding , and his efforts at "working the oracle," William Bell Scott's description of his methodically lining up sympathetic reviewers.As with all of Rossetti's correspondence, the letters in volume 4 are replete with pointed and sometimes humorous commentary on an array of people and events,ranging from Edward Burne-Jones's affair with "the Greek damzel," Mary Zambaco, and Frederick Sandys's appropriation of subjects from his pictures, to his unease over Swinburne's uncontrollable drunkenness, and his ominous hatredof Robert Buchanan, the author of the "Fleshly School" attack on his poetry in the Contemporary Review of October 1871, which became a major cause of the disastrous events of the years 1871-1872.

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***50 MILLION TERRY BROOKS COPIES SOLD AROUND THE WORLD***THE SHANNARA CHRONICLES IS NOW A MAJOR TV SERIES'Terry's place is at the head of the fantasy world' Philip PullmanAs a Knight of the Word, John Ross has struggled against the tireless dark forces of the Void for twenty-five years. Ross is driven by dreams that show the world reduced to blood and ashes by the Void and its minions. But for all his power, John Ross is only one man, while the demons he battles are legion.Then Ross learns of the birth of a rare and dangerous creature formed from the very essence of wild magics. If he can discover its secret, the creature will be an invaluable weapon against the Void. But the Void also knows its value, and will not rest until the creature has been corrupted - or destroyed. Desperate, Ross turns to Nest Freemark, a young woman with magical abilities of her own. And there they prepare to face an evil more ancient and powerful than anything they have ever encountered.Praise for Terry Brooks:'A master of the craft . . . required reading' Brent Weeks'I can't even begin to count how many of Terry Brooks's books I've read (and re-read) over the years' Patrick Rothfuss, author of The Name of the Wind'I would not be writing epic fantasy today if not for Shannara' Peter V. Brett, author of The Painted Man'If you haven't read Terry Brooks, you haven't read fantasy' Christopher Paolini, author of EragonThe Word and the Void:RUNNING WITH THE DEMONA KNIGHT OF THE WORDANGEL FIRE EAST

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A manuscript rather obliquely named from its once having been at Rosslyn Castle, but that at the time of this edition had come to the Advocates' Library at Edinburgh, which since 1925 is part of the National Library of Scotland (MS Advocates 18.5.19). Lawlor dated it to the late 13th or early 14th century, and saw it as an English copy of an Irish exemplar in turn descended from a book belonging to the Benedictine nuns of St Werbugh, Chester, in the 12thcentury.

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In the 15th century a new home was built for the priceless holy relics taken from Jerusalem centuries before - a building that, to the initiated, would explain everything about what had gone before and a structure that would be a recreation of the Herodian Temple on the Mount in Jerusalem. This is Rosslyn Chapel and here are its secrets.

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More than an index to the nine volumes of letters, this volume is a concise guide to an entire cultural era seen through the lens of Dante Gabriel Rossetti. Volume 10 of The Correspondence of Dante Gabriel Rossetti is the first ever analytical and biographical index to all Rossetti's letters from 1835-82. It gives readers the widest possible contextual access to all names of persons, places, works of art, writings, movements, organizations and activities, both physical and intellectual, mentioned in these letters with their annotations and appendices. But this index, augmenting the partial ones in Vols2 and 5, is far more than a simple listing of names: it also serves as a subject index, providing mini-précis descriptions of the information detailed in the annotated letter texts. Subheadings within entries depend on the complexity of the subject and may include letters to/from (for recipients) and lists of artistic and literary works by Rossetti's correspondents, or predecessors such as Blake, Keats and Coleridge. It is a concise guide to an entire cultural era. Since Rossetti is the lens through which all other entries are filtered, his own entry is divided into multiple subheadings to facilitate easy access. The researcher can quickly locate all references to the sonnet sequence The House of Life, the various versions of the Proserpine picture or the complex relationship of his drug use to Rossetti's life and work.

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Hard man Ross Kemp journeys into dark heart of some of the most notorious gangs on earth in Gangs II.Ross Kemp once again squares up to the world's deadliest gangsters in this breathtaking follow up to the bestselling Gangs. This time his travels take him as close to home as Liverpool and as far away as Colombia and East Timor. And the gangs he meets just get meaner: * Ross is tear-gassed investigating Polish Neo-Nazi football thugs * In Columbia he meets the Sicarios, who'll kill for a few pesos * A gun is shoved in his face in Los Angeles * He's shown how to make a crossbow in East TimorRisking his life, Ross Kemp goes deep into the realms of gangland culture, and in the nail-biting and jaw-dropping Gangs II, he meets some of the most frightening men in the world.'Frightening, disturbing' Irish ExaminerRoss Kemp was born in Essex in 1964, to a father who was a senior detective with the Metropolitan Police and had served in the army for four years. He is a BAFTA award-winning actor, journalist and author, who is best known for his role of Grant Mitchell in Eastenders. His award-winning documentary series Ross Kemp on Gangs led to his international recognition as an investigative journalist.

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The first cohesive Faust narrative in facsimile form, German transcription, and (first-ever) English translation, plus a history of Faust illustrations and an assessment of Faust's historicity. The Faust legend, which has come down to us most famously in Goethe's tragedy but also in countless other incarnations since the late sixteenth century, was first collected and presented as a cohesive narrative (in manuscript) byChristoph Rosshirt during the 1570s. Rosshirt was also the first to provide illustrations of Faust, hand-colored by Rosshirt himself. This book offers a critical edition of Rosshirt's six tales, including an introductory chapter,a facsimile of the manuscript, a transcription and first-ever English translation on facing pages, as well as a history of Faust illustrations, with Rosshirt's own illustrations and other examples up through Delacroix, the most complete survey of such illustrations to date. A final chapter rounds out the study with an assessment of Rosshirt's significance for the Faust tradition, a review of the evidence for a historical Faust, and a rejection of his historicity (because it is unprovable) in favor of his existence only in his story - a story Rosshirt helped to tell - and in our imaginations that animate that story. J. M. van der Laan is Professor Emeritus of German at Illinois State University.

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The Pre-Raphaelite Movement began in 1848, and experienced its heyday in the 1860s and 1870s. Influenced by the then little-known Keats and Blake, as well as Wordsworth, Shelley and Coleridge, Pre-Raphaelite poetry 'etherialized sensation' (in the words of Antony Harrison), and popularized the notion ofl'art pour l'art - art for art's sake. Where Victorian realist novels explored the grit and grime of the Industrial Revolution, Pre-Raphaelite poems concentrated on more abstract themes of romantic love, artistic inspiration and sexuality. Later they attracted Aesthetes and Decadents like Oscar Wilde, Aubrey Beardsley and Ernest Dowson, not to mention Gerard Manley Hopkins and W.B. Yeats.

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A revolutionary figure throughout his career, Dante Gabriel Rossetti’s work provides a distinctly revolutionary lens through which the Victorian period can be viewed. Suggesting that Rossetti’s work should be approached through his poetry, Brian Donnelly argues that it is both inscribed by and inscribes the development of verbal as well as visual culture in the Victorian era. In his discussions of modernity, aestheticism, and material culture, he identifies Rossetti as a central figure who helped define the terms through which we approach the cultural productions of this period. Donnelly begins by articulating a method for reading Rossetti’s poetry that highlights the intertextual relations within and between the poetry and paintings. His interpretations of such poems as the 'Mary’s Girlhood' sonnets, the sonnet sequence The House of Life, and 'The Orchard-Pit' in relationship to paintings such as The Girlhood of Mary Virgin and Ecce Ancilla Domini! shed light on Victorian ideals of femininity, on consumer culture, and on the role of gender hierarchies in Victorian culture. Situating Rossetti’s poetry as the key to all of his work, Donnelly also makes a case for its centrality in its representation of the dominant discourses of the late Victorian period: faith, sex, consumption, death, and the nature of representation itself.

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This paperback edition of M.I.A. or Mythmaking in America adds major new material about Ross Perot's role, the 1991-1992 Senate investigation, and illegal operations authorized by Ronald Reagan.

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In the early 1800s, Rossini’s operas permeated Italian culture, from the opera house to myriad arrangements heard in public and private. But after Rossini stopped composing new works there was a sharp decline in popularity that drove most of his works out of the repertory. In the past half century, they have made a spectacular return to operatic stages worldwide, but this newly found fame has not been accompanied by a comparable critical reevaluation. Emanuele Senici’s new book provides a fresh look at the motives behind the Rossinian furore and its aftermath by placing his works into the culture and society in which they were conceived, performed, seen, heard, and discussed. The book does so by situating the operas firmly in the context of the social practices, cultural formations, ideological currents, and political events of nineteenth-century Italy, revealing how Rossini’s dramaturgy emerges as a radically new and specifically Italian reaction to the epoch-making changes witnessed in Europe at the time. The first book-length study of Rossini’s Italian operas to appear in English, Music in the Present Tense opens up new ways to explore nineteenth-century music and addresses crucial issues in the history of modernity such as trauma, repetition, and the healing power of theatricality.

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The landmark new novel from Ross Welford, one of the fastest-growing and most critically acclaimed middle grade authors in the UK, this funny, moving and brilliant sixth book cements his position as the most exciting storyteller around for readers of 10+.

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