This book offers the student or general reader a guide through the thicket of literary terms. Unlike traditional books of this type, however, it takes an expanded view of the term literary. One cause of this expansion is the new way of talking about and teaching literature that has emerged since the late 1960s under the general heading of “theory.” Theory often deals with subjects that seem at best only peripherally related to what we think of as literature, but some of its insights have provided us with new tools to understand the processes of reading, writing, interpreting, and (alas, to a relatively insignifi cant extent) enjoying literature. This book provides discussions of the majo...
The first and best single-volume reference of its kind, this comprehensive work traces world drama from its earliest ritual forms to modern times. Focusing on the literary content of the plays, it features articles by nearly 100 distinguished contributors, including Eric Bentley, Alfred Harbage, Jacques Guichamaud, Cedric Whitman, and Wallace Fowlie.nbsp;350 black-and-white illustrations.
A reprieve from post-war austerity, the 1950s epitomized a time of glamour with its film icons and automobiles, which are admired and emulated to this day. Nothing said, "You've made it," quite like getting glammed up and going for a spin in your brand new automobile. The shapes and shades of cars were bright and exaggerated. Car design showed a fervent embrace of the future and a willingness to experiment with something new. Riviera Cocktail photographer Edward Quinn captured all the stars and idols from the worlds of film, music, and the arts, as well as their admirers. Picasso and his Hispano-Suiza, Brigitte Bardot in her Lancia, and many more are featured with their motor toys. With a keen eye and playful exuberance, his images define fifties style.
"The most everyday object is a vessel; a vehicle of my thoughts." In Picasso's hands, cardboard, pape, and rope metamorphose into a guitar, a goat, a woman. His friend, the great photographer Edward Quinn, a privileged witness to Picasso's creative moments, recreates them here in 80 pages of everyday objects created in an imaginary world.