Epistola publishing house is a family-owned company founded in 2009. We seek to provide quality reading with variety of themes to enrich the lives of young readers. Our books have distinctively educational purpose, inspiring discussion with parents, teachers or other children. In order to provide the best possible reading and achieve quality, we collaborate with renowned domestic and foreign authors.
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Nova knjiga insists to create good connection between comercial and elite.We pay close attention to all aspects of the publishing business according to the highest standards and criteria always taking care of the high quality of the translation, covers and textblock.Publishing sectors: fiction, non-fiction, classics, children books. Nova knjiga has a network of own bookstores in biggest towns which covers Montenegrin market. Beside the publishing we have great developed network of wholesale and we are main suppliers of the books in Montenegro. We provide to all companies in Montenegro and region easy way to buy all our editions and editions of other publishing houses.
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The Art of The Faerie Queene is the first book centrally focused on the forms and poetic techniques employed by Spenser. It offers a sharp new perspective on Spenser by rereading The Faerie Queene as poetry which is at once absorbing, demanding and experimental. Instead of the traditional conservative model of Spenser as poet, this book presents the poem as radical, edgy and unconventional, thus proposing new ways of understanding the Elizabethan poetic Renaissance. The book moves from the individual words of the poem to metre, rhyme and stanza form onto its larger structures of canto and book. It will be of particular relevance to undergraduates studying Elizabethan poetry, graduate students and scholars of Renaissance poetry, for whom the formal aspect of the poetry has been a topic of growing relevance in recent years.
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The Art of The Faerie Queene is the first book centrally focused on the forms and poetic techniques employed by Spenser. It offers a sharp new perspective on Spenser by rereading The Faerie Queene as poetry which is at once absorbing, demanding and experimental. Instead of the traditional conservative model of Spenser as poet, this book presents the poem as radical, edgy and unconventional, thus proposing new ways of understanding the Elizabethan poetic Renaissance. The book moves from the individual words of the poem to metre, rhyme and stanza form onto its larger structures of canto and book. It will be of particular relevance to undergraduates studying Elizabethan poetry, graduate students and scholars of Renaissance poetry, for whom the formal aspect of the poetry has been a topic of growing relevance in recent years.
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The debate about the Empire dealt in idealism and morality, and both sides employed the language of feeling, and frequently argued their case in dramatic terms. This book opposes two sides of the Empire, first, as it was presented to the public in Britain, and second, as it was experienced or imagined by its subjects abroad. British imperialism was nurtured by such upper middle-class institutions as the public schools, the wardrooms and officers' messes, and the conservative press. The attitudes of 1916 can best be recovered through a reconstruction of a poetics of popular imperialism. The case-study of Rhodesia demonstrates the almost instant application of myth and sign to a contemporary imperial crisis. Rudyard Kipling was acknowledged throughout the English-speaking world not only as a wonderful teller of stories but as the 'singer of Greater Britain', or, as 'the Laureate of Empire'. In the last two decades of the nineteenth century, the Empire gained a beachhead in the classroom, particularly in the coupling of geography and history. The Island Story underlined that stories of heroic soldiers and 'fights for the flag' were easier for teachers to present to children than lessons in morality, or abstractions about liberty and responsible government. The Education Act of 1870 had created a need for standard readers in schools; readers designed to teach boys and girls to be useful citizens. The Indian Mutiny was the supreme test of the imperial conscience, a measure of the morality of the 'master-nation'.
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Colonial war played a vital part in transforming the reputation of the military and placing it on a standing equal to that of the navy. The book is concerned with the interactive culture of colonial warfare, with the representation of the military in popular media at home, and how these images affected attitudes towards war itself and wider intellectual and institutional forces. It sets out to relate the changing image of the military to these fundamental facts. For the dominant people they were an atavistic form of war, shorn of guilt by Social Darwinian and racial ideas, and rendered less dangerous by the increasing technological gap between Europe and the world. Attempts to justify and understand war were naturally important to dominant people, for the extension of imperial power was seldom a peaceful process. The entertainment value of war in the British imperial experience does seem to have taken new and more intensive forms from roughly the middle of the nineteenth century. Themes such as the delusive seduction of martial music, the sketch of the music hall song, powerful mythic texts of popular imperialism, and heroic myths of empire are discussed extensively. The first important British war correspondent was William Howard Russell (1820-1907) of The Times, in the Crimea. The 1870s saw a dramatic change in the representation of the officer in British battle painting. Up to that point it was the officer's courage, tactical wisdom and social prestige that were put on display.
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Popular culture is invariably a vehicle for the dominant ideas of its age. Never was this truer than in the late-nineteenth and early twentieth centuries, when it reflected the nationalist and imperialist ideologies current throughout Europe. It both reflects popular attitudes, ideas and preconceptions and it generates support for selected views and opinions. This book examines the various media through which nationalist ideas were conveyed in late-Victorian and Edwardian times: in the theatre, "ethnic" shows, juvenile literature, education and the iconography of popular art. It seeks to examine in detail the articulation and diffusion of imperialism in the field of juvenile literature by stressing its pervasiveness across boundaries of class, nation and gender. It analyses the production, distribution and marketing of imperially-charged juvenile fiction, stressing the significance of the Victorians' discovery of adolescence, technological advance and educational reforms as the context of the great expansion of such literature. An overview of the phenomenon of Robinson Crusoe follows, tracing the process of its transformation into a classic text of imperialism and imperial masculinity for boys. The imperial commitment took to the air in the form of the heroic airmen of inter-war fiction. The book highlights that athleticism, imperialism and militarism become enmeshed at the public schools. It also explores the promotion of imperialism and imperialist role models in fiction for girls, particularly Girl Guide stories.
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A grand strategy of peace is the first detailed account of Britain's role in the creation of the United Nations Organization during the Second World War. As a work of traditional diplomatic history that brings in elements of intellectual history, the book describes how British officials, diplomats, politicians, and writers - previously seen to be secondary actors to the United States in this period - thought about, planned for, and helped to establish a future international order. While in the present day, many scholars and analysts have returned to the origins of the post- 1945 international system, this book offers an exhaustive account of how the statesmen and more importantly, the officials working below the statesmen, actually conceived of and worked to establish a post-war world order.
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