Search results for ""Author Joyce Crick""

'Once upon a time in mid-winter, when the snowflakes were falling from the sky like down, a queen was sitting and sewing at a window ...' The tales gathered by the Grimm brothers are at once familiar, fantastic, homely, and frightening. They seem to belong to no time, or to some distant feudal age of fairytale imagining. Grand palaces, humble cottages, and the forest full of menace are their settings; and they are peopled by kings and princesses, witches and robbers, millers and golden birds, stepmothers and talking frogs. Regarded from their inception both as uncosy nursery stories and as raw material for the folklorist the tales were in fact compositions, collected from literate tellers and shaped into a distinctive kind of literature. This translation mirrors the apparent artlessness of the Grimms, and fully represents the range of less well-known fables, morality tales, and comic stories as well as the classic tales. It takes the stories back to their roots in German Romanticism and includes variant stories and tales that were deemed unsuitable for children. In her fascinating introduction, Joyce Crick explores their origins, and their literary evolution at the hands of the Grimms.

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'Once upon a time in mid-winter, when the snowflakes were falling from the sky like down, a queen was sitting and sewing at a window ...' The tales gathered by the Grimm brothers are at once familiar, fantastic, homely, and frightening. They seem to belong to no time, or to some distant feudal age of fairytale imagining. Grand palaces, humble cottages, and the forest full of menace are their settings; and they are peopled by kings and princesses, witches and robbers, millers and golden birds, stepmothers and talking frogs. Regarded from their inception both as uncosy nursery stories and as raw material for the folklorist the tales were in fact compositions, collected from literate tellers and shaped into a distinctive kind of literature. This new translation mirrors the apparent artlessness of the Grimms, and fully represents the range of less well-known fables, morality tales, and comic stories as well as the classic tales. It takes the stories back to their roots in German Romanticism and includes variant stories and tales that were deemed unsuitable for children. In her fascinating introduction, Joyce Crick explores their origins, and their literary evolution at the hands of the Grimms. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Building on the crucial insight that jokes use many of the same mechanisms he had already discovered in dreams, Freud developed one of the richest and most comprehensive theories of humour that has ever been produced.Jokes, he argues, provide immense pleasure by allowing us to express many of our deepest sexual, aggressive and cynical thoughts and feelings which would otherwise remain repressed. In elaborating this central thesis, he brings together a dazzling set of puns, anecdotes, snappyone-liners, spoonerisms and beloved stories of Jewish beggars and marriage-brokers. Many remain highly amusing, while others throw a vivid light on the lost world of early twentieth-century Vienna.

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This groundbreaking new translation of The Interpretation of Dreams is the first to be based on the original text published in November 1899. It restores Freud's original argument, unmodified by revisions he made following the book's critical reception which included, under the influence of his associate Wilhelm Stekel, the theory of dream symbolism. Reading the first edition reveals Freud's original emphasis on the use of words in dreams and on the difficulty of deciphering them and Joyce Crick captures with far greater immediacy and accuracy than previous translations by Strachey's Freud's emphasis and terminology. An accessible introduction by Ritchie Robertson summarizes and comments on Freud's argument and relates it to his early work. Close annotation explains Freud's many autobiographical, literary and historical allusions and makes this the first edition to present Freud's early work in its full intellectual and cultural context. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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'In recent decades, interest in hunger artists has greatly diminished.' Kafka published two collections of short stories in his lifetime, A Country Doctor: Little Tales (1919) and A Hunger Artist: Four Stories (1924). Both collections are included in their entirety in this edition, which also contains other, uncollected stories and a selection of posthumously published works that have become part of the Kafka canon. Enigmatic, satirical, often bleakly humorous, these stories approach human experience at a tangent: a singing mouse, an ape, an inquisitive dog, and a paranoid burrowing creature are among the protagonists, as well as the professional starvation artist. A patient seems to be dying from a metaphysical wound; the war-horse of Alexander the Great steps aside from history and adopts a quiet profession as a lawyer. Fictional meditations on art and artists, and a series of aphorisms that come close to expressing Kafka's philosophy of life, further explore themes that recur in his major novels. Newly translated, and with an invaluable introduction and notes, Kafka's short stories are haunting and unforgettable. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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'When Gregor Samsa woke one morning from uneasy dreams, he found himself transformed into some kind of monstrous vermin.' With a bewildering blend of the everyday and the fantastical, Kafka thus begins his most famous short story, The Metamorphosis. A commercial traveller is unexpectedly freed from his dreary job by his inexplicable transformation into an insect, which drastically alters his relationship with his family. Kafka considered publishing it with two of the stories included here in a volume to be called Punishments. The Judgement also concerns family tensions, when a power struggle between father and son ends with the father passing an enigmatic judgement on the helpless son. The third story, In the Penal Colony, explores questions of power, justice, punishment, and the meaning of pain in a colonial setting. These three stories are flanked by two very different works. Meditation, the first book Kafka published, consists of light, whimsical, often poignant mood-pictures, while in the autobiographical Letter to his Father, Kafka analyses his difficult relationship in forensic and devastating detail. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Poetry in its many guises is at the center of Coleridge's multifarious interests, and this long-awaited new edition of his complete poetical works marks the pinnacle of the Bollingen Collected Coleridge. The three parts of Volume 16 confirm and expand the sense of the Coleridge who has emerged over the past half-century, with implications for English Romantic writing as a whole. Setting new standards of comprehensiveness in the presentation of Romantic texts, they will interest historians and editorial theorists, as well as readers and students of poetry. They represent a work of truly monumental importance. Coleridge's plays form a vital part of his poetic achievement. This part covers all of them--twelve altogether, including collaborations, adaptations, and plays left unrevised or in note form. It considers his drama translations as well. Coleridge's practical engagement with theater over a span of twenty years influenced his approach to other, lyric forms as well as, for example, his assessments of Shakespeare and of public taste. As in the first and second parts, all known manuscript, printed, and annotated versions have been collated to produce reading texts, and much new information, historical as well as textual, is presented in the commentary. The index covers proper names and prominent themes and features of all three parts. The presentation of four plays is of particular interest. Coleridge's translations of Schiller's Piccolomini and Death of Wallenstein are accompanied by facing texts of the German originals (the first reconstructed by Joyce Crick, the second from a manuscript authorized by Schiller himself) so that, for the first time, Coleridge's practice as translator can be properly assessed. Secondly, Remorse is presented in stage and printed-text versions; the former demonstrates how Coleridge's play evolved in the course of the rehearsal process and during performance, how it was received and how it enjoyed an afterlife in contemporary theatres, whereas the printed-text version developed quite differently. This authoritative volume offers a revealing and comprehensive portrait of Coleridge's work in the dramatic form.

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