Search results for ""Author English""

Includes general hymns; hymns for feasts, seasons and saints' days; office hymns for the liturgical year; an enlarged eucharistic section; responsorial psalms, and a new English folk mass setting.

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Blue plaques, bearing names both familiar and intriguing, can be found all across the capital. From BOB MARLEY to ALAN TURING, VIRGINIA WOOLF to VINCENT VAN GOGH, MAHATMA GANDHI to EMMELINE PANKHURST, the plaques celebrate an incredible range of London's past residents. Whether they be scientists, sports stars, artists, actors, inventors or politicians - this revised and updated English Heritage guide reveals, with wit and insight, the stories of London's most extraordinary men and women and the homes in which they lived.

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It was a surprise to everyone, including director Eric Rohmer, that My Night at Maud's was a success. The film violated almost all the rules of popular filmmaking. It had no crime, no explicit sex, no violence, and no action. As English Showalter points out in his excellent introduction to the volume, half the film was spent on one scene in which three characters seem to talk endlessly about subjects of little interest to a general audience––religion (Catholicism in particular), philosophy, Pascal, morality, even mathematics. The film explores the unexpectedly complex relationships between two men and two women, and seems to end with the affirmation of traditional values such as chastity, piety, and the family. All this at the end of the sixties, when other popular French films by directors such as Godard, Truffaut, Chabrol, and Varda were attempting to comment on and were succeeding in reflecting turbulent times and ideas in their work.Showalter discusses the film in the context of Rohmer's conservative film theory and explains its relationship to the other films in the director's series of Six Moral Tales. He shows how Rohmer's sense of place and his techniques of film narration develop the theme of moral choice in a story about love and chance encounters with a delightfully ironic conclusion. The volume also contains a selection of background and critical materials, including interviews with Rohmer and pertinent statements by him, reviews of the film from several countries, and important criticism of the film from the past twenty years. A brief biography, filmography, and selected bibliography are also included. This volume will be indispensable for anyone studying this important film, and will delight those who just want to enjoy it.

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Featuring a traditional, grammar-based approach, A New Latin Primer offers beginning students a solid overview of Latin grammar, syntax, and vocabulary. It provides concise, straightforward grammatical explanations and illustrates them with unadapted Latin examples so that students can learn from Roman authors how to employ the syntax under discussion. Each of the thirty-six lessons contains twelve short practice sentences along with fifteen passages of unadapted Latin from a wide variety of important classical and medieval authors: Catullus, Vergil, Horace, Ovid, Martial, Caesar, Cicero, Livy, Sallust, Tacitus, Augustus, Seneca, Pliny the Younger, Pliny the Elder, Augustine, Bede, inter alios. Explanatory notes and definitions of unfamiliar vocabulary appear immediately below the passages. All of the passages in a single lesson are tailored to one or two aspects of Roman culture or history, demonstrating how the study of Latin provides first-hand access to the texts that shape our understanding of the Roman world.Ideal for use in introductory courses, as a self-study volume, or as an intensive review, A New Latin Primer is accompanied by a Student Workbook and a Companion Website that contain a variety of drills, additional practice sentences, translation practice, and word games. An Instructor's Resource Manual is also available to adopters.

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Know the Game Bowls is the perfect introduction to the sport for all ages, whether you are a keen club player or beginner. It is packed with expert text, clear illustrations and photographs of the professionals in action. The book includes: - Playing the game: how to play bowls, the rules, positions on the pitch, how to score - The laws of the game: from scoring to umpiring - Equipment and pitch: bowling balls, positioning of players, measuring - The skills: step-by-step guide to all the basic skills, including throwing, tactics and scoring. The Know the Game series is firmly established as the definitive introduction to a wide range of sports and games. Written by the experts, you can be sure that they contain everything you need to know to take part.

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Krishna Kumari: The Tragedy of India introduces readers to the first English language play in modern India.Written in 1826 by English Subba Rao, one of the first Indians to be schooled in English, Krishna Kumari depicts the true story of a princess of Udaipur who is forced to commit suicide in order to end a war started by her suitors, the rulers of the neighboring kingdoms of Jaipur and Jodhpur. Tragically, her death proves to be in vain because the mercenaries recruited by the contending rulers nevertheless proceed to plunder the region. All three kingdoms are then compelled to seek the protection of the East India Company, bringing their independence to an end.Sharp and witty, Krishna Kumari was intended to warn Indian principalities against the follies that led to the downfall of the Rajputs. Unfortunately, the play scarcely saw the light of day. Angered by Subba Rao's opposition to their power, the British

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Includes general hymns; hymns for feasts, seasons and saints' days; office hymns for the liturgical year; an enlarged eucharistic section; responsorial psalms and a new English folk mass setting.

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The letters between Vera Brittain, author of Testament of Youth, and Winifred Holtby, author of South Riding, tell the story of an extraordinary friendship'Touching and inspiring' RACHEL COOKE, Observer'Lively, perceptive' MIRANDA SEYMOUR, Literary Review'A beautiful collection' DAISY DUNN, Sunday Times'A moving unvarnished chronicle' Sarah Watling, TelegraphFrom the time when they met at Somerville College, Oxford, until Winifred's early death at the age of thirty-seven, they wrote constantly, encouraging and advising each other, even through periods as literary rivals as they negotiated envy and self-doubt. Vera decisively influenced Winifred's passion for feminism and peace and Winifred gave Vera crucial support, fiercely believing in her literary gifts. Their letters, written from 1920 to 1935, kept them 'continuously together'.

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These fascinating letters between Vera Brittain and Winifred Holtby tell the story of an extraordinary friendship.'A beautiful collection' Daisy Dunn, Sunday Times'Completely fascinating' Rachel Cooke, Observer'Lively, perceptive and immaculately edited' Miranda Seymour, Literary Review'A moving, unvarnished chronicle of intellectual comradeship' Sarah Watling, Telegraph A literary relationship that began when the women met at Somerville College, Oxford, in 1919, it lasted until Winifred's early death at the age of thirty-seven. The letters, written from 1920 to 1935, kept them 'continuously together', and show us the life of two pioneers who wished to make their mark as writers and campaigners. Each encouraged and advised the other. However, there were periods when they were literary rivals. Winifred landed a book deal first; Vera produced an international bestseller with Testament of Youth; and the letters show them negotiating envy and self-doubt. It was at times an uneven relationship: Vera, more than four years older, was married and had two children during this period, while Winifred, a single woman with an adventurous spirit, travelled and made a wide range of friends. As the heroine of her novel South Riding says, 'I was born to be a spinster and by God, I'm going to spin!' Vera decisively influenced Winifred's passion for feminism and peace; 'You made me,' Winifred told her. In turn, Winifred, who took care of Vera's children and placated her husband, gave Vera crucial intellectual and emotional support, fiercely believing in her literary gifts. A portrait of the inter-war years and a dramatic, touching and ultimately tragic story, the letters have the hallmarks of honest female friendship: not without friction and with its own delicate co-dependency, but life-changing for them both.

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*HONORABLE MENTION for the 2022 International Latino Book Awards, Juan Felipe Herrera Best Poetry Book Award - One Author - English*American Quasar is a visual-textual collaboration between poet David Campos and artist Maceo Montoya. What began as an exploration of the precipice of violence evolved into an excavation of self, a deep meditation on how country, family, and trauma affect the ability to love. The images and words build a poetic space where the body is understood in both physical and celestial terms, giving a spiritual dimension to the collection's larger claim that the political is personal.

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*HONORABLE MENTION in the 2022 International Latino Book Awards for the Juan Felipe Herrera Best Poetry Book Award - One Author - English*From the edge of a singularity and across desert roads at night, A Camera Obscura teleports its readers through deep space nebulae and the constructs of cityscapes to arrive at what it means to “see.” Lovers embrace in sonnets and meditations move through artworks and Hubble Telescope images as these poems employ ekphrastic visions to balance the profound displacements in the most mundane aspects of our lives with science, fact, faith, and song. In the ceremonial blades of Aztec sacrifice and the anonymity of undocumented lives, these poems accrete into a solar system of images seen true, seen askance, seen in error, seen entire. A Camera Obscura is the dark room of the imagination where sīgnum—the sign, the act—becomes the tangible testaments of living.

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*Winner of the 2021 International Association of Authoethnography and Narrative Inquiry Award for Outstanding Book**GOLD MEDALIST in the 2022 International Latino Book Awards for the Juan Felipe Herrera Best Poetry Book Award - One Author - English*In this collection, Caballero imagines how memory frames and reshapes the present, how memory illuminates and limits the stories of ourselves, and how, despite the passage of time, primal moments in the past are the ghosts and echoes of our present. These poems interweave an early childhood lived in another country and in another language with experiences of immigration and family histories in the United States. They create connections between a child’s naïve perspective of dictatorship and an adult perspective informed by bodily illness and political knowledge. Ultimately, Caballero traces a lineage of memory, exploring how present moments unearth the past that ripples through them. This collection does not reconcile the past and the present. Instead, these poems remind us that how we ask questions about ourselves, our histories, and our bodies is what creates our identities, our traumas, and our future hopes and possibilities.

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Elena Ferrante’s Neapolitan novels achieved stunning global success in part because of the mystery surrounding their pseudonymous author. English-speaking readers were tantalized by her enigmatic biography as well as what they took to be her authentic portrayal of working-class Naples. However, we now know that the person behind the writing is most likely Anita Raja, a prominent translator of German literature whose background is very different from Ferrante’s supposed life.In Finding Ferrante, Alessia Ricciardi revisits questions about Ferrante’s identity to show how the problem of authorship is deeply intertwined with the novels’ literary ambition and politics. Going beyond the local and national cultures of Naples and Italy, Ricciardi reads Ferrante’s fiction as world literature, foregrounding Raja’s work as a translator. She examines the novels’ engagement with German literature and criticism, particularly Goethe, Walter Benjamin, and Christa Wolf, while also tracing the influence of Italian thinkers such as Antonio Gramsci, Carla Lonzi, and the Milan Women’s Bookstore Collective. Considering central questions of sexuality, work, politics, and place, Ricciardi demonstrates how intertextual resonances reshape our understanding of Lila and Elena, the protagonists of the Neapolitan Quartet, as well as the characters and language of Ferrante’s other books.This bold reconsideration of one of today’s most acclaimed authors reveals Ferrante’s works as fiercely intellectual, showing their deep concern with feminist and cultural politics and the ethical and political stakes of literature.

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Elena Ferrante’s Neapolitan novels achieved stunning global success in part because of the mystery surrounding their pseudonymous author. English-speaking readers were tantalized by her enigmatic biography as well as what they took to be her authentic portrayal of working-class Naples. However, we now know that the person behind the writing is most likely Anita Raja, a prominent translator of German literature whose background is very different from Ferrante’s supposed life.In Finding Ferrante, Alessia Ricciardi revisits questions about Ferrante’s identity to show how the problem of authorship is deeply intertwined with the novels’ literary ambition and politics. Going beyond the local and national cultures of Naples and Italy, Ricciardi reads Ferrante’s fiction as world literature, foregrounding Raja’s work as a translator. She examines the novels’ engagement with German literature and criticism, particularly Goethe, Walter Benjamin, and Christa Wolf, while also tracing the influence of Italian thinkers such as Antonio Gramsci, Carla Lonzi, and the Milan Women’s Bookstore Collective. Considering central questions of sexuality, work, politics, and place, Ricciardi demonstrates how intertextual resonances reshape our understanding of Lila and Elena, the protagonists of the Neapolitan Quartet, as well as the characters and language of Ferrante’s other books.This bold reconsideration of one of today’s most acclaimed authors reveals Ferrante’s works as fiercely intellectual, showing their deep concern with feminist and cultural politics and the ethical and political stakes of literature.

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Michael Edwards returned to the English tongue for his last book of poems, At the Brasserie Lipp (2019), after years as a French-language author. English revived many nerves of memory, and in Another Art of Poetry he explores them further, in ten chapters, each consisting of continuously numbered sections. There are 194 sections, so we can read the book as a continuous sequence, as ten discrete poems, or as single lyrics and epistles interspersed. There is something Augustan about the approach, humorous, alert, like a series of letters and reflections spoken to us. The formal variety of the sections reminds us how well Edwards knows his Eliot, Williams, Pound, his David Jones; he understands modernism and the other resources that inform the grateful poets who value our European and wider traditions. ('The godsend of influence.') Originality has to do with origins. 'Everything has been said,' he begins, 'and we come / just at the right moment.' His English re-visions once familiar landscapes in Wivenhoe, in Paris and elsewhere; it finds his antecedents, it restores access to belief and transcendence. Doorstones, an additional full collection, bridges the gap between At the Brasserie Lipp and this ars poetica.

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