Murray Books has been responsible for many creative book concepts and ideas since 1983. We have crafted books and gifts for over 30 countries and in 22 languages. We specialise in creating products for the retail customer or publisher and every one of our creations is exclusive.
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Smart English Company Limited is committed to developing a line of fun and educational products, which currently includes Inspirational English and Robin Education, to help young learners acquire the four skills in the English language. With 'Baby Animals', 'Dinosaurs in my Garden', and 'Mirabelle and Milo', Robin Education aims to develop young learners’ ability to use authentic English language in line with the Cambridge English Qualifications syllabus, as they explore the fascinating stories in each series.
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Les Murray is amongst the most gifted poets writing today, his multi-faceted talents have received high praise both in his native Australia and beyond. But he has also proved a controversial figure, whose poetry strays across the boundaries of political and cultural debate. The only full critical study of Murray's work available, Steven Matthews provides a complete picture of his career to date, from its early parables of national emergence to the working man's epic encounter with the major events of the twentieth century, Fredy Neptune. Provides detailed readings of key poems, as well as literary and cultural contexts for the rapid shifts in style and subject matter Murray has made from collection to collection. Gives an overview of Murray's place within Australian literature and national thought. ;
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Critical Games is about the games we play (whether we know it or not), the ways we play them (for fun, but also to win, and to gain approval from others), and what happens when they get out of hand. The book interrogates the theory of play and gaming, with a particular focus on the games played by literary authors and literary critics. Drawing on (often self-critical) autobiography, as well as readings in texts across a range of languages, Tim Beasley-Murray plays with academic conventions to highlight what is at stake in them, turning to the Game of Literature, from Kafka to Carrère, to seek models and warnings of the outcomes of taking games too seriously, or not taking them seriously enough.
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From the late 1800s to the early 1900s, Australian settler colonists mobilised their unique settler experiences to develop their own vision of what 'empire' was and could be. Reinterpreting their histories and attempting to divine their futures with a much heavier concentration on racialized visions of humanity, white Australian settlers came to believe that their whiteness as well as their Britishness qualified them for an equal voice in the running of Britain's imperial project. Through asserting their case, many soon claimed that, as newly minted citizens of a progressive and exemplary Australian Commonwealth, white settlers such as themselves were actually better suited to the modern task of empire. Such a settler political cosmology with empire at its center ultimately led Australians to claim an empire of their own in the Pacific Islands, complete with its own, unique imperial governmentality.
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Stanley Cavell: Philosophy, literature, and criticism is the first book to offer a comprehensive examination of the relationship between the celebrated philosophical work of Stanley Cavell and the discipline of literary criticism. In this volume, the editors have assembled an impressive range of interlocutors who set out to explore the shape and substance of Stanley Cavell's persistent acknowledgement of the literary as a category in which, and through which, philosophical work can be undertaken. A number of essays address his engagements with modernism, tragedy, and romanticism, while others consider Cavell's own aesthetic modes as a writer. Stanley Cavell: Philosophy, literature, and criticism will be of interest to all those who are concerned with the ways in which the reading of literature, and the practice of philosophy, might continue both to influence each other across disciplinary boundaries, and to challenge the internal topographies of those disciplines. ;
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»Joyce, Sie wissen doch, dieser irische Gigant … Der Zeitpunkt liegt so um 1909 herum. Da lebte der wortgewaltige Romancier in Triest und fristete sein Leben mühsam mit Sprachunterricht. Ja, und da hatte er eine Affäre mit einer Schülerin, kindjung anscheinend, doch von überzeugender Weiblichkeit. Ihr zuliebe schrieb er eben jenes Novellchen. Es steht alles drin, was einem reifen Mann passiert, wenn er sich vergißt. Und es ist eine Poesie, in eine feine Lieblichkeit eingefangen, wie sie nur Joyce vermag, wenn er verliebt ist.« – Werner Helwig
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T. S. Eliot, geboren 1888 in St. Louis/Missouri, gestorben 1965 in London, ist einer der bedeutendsten Dichter des 20. Jahrhunderts. Wolfgang Hildesheimer wurde am 9. Dezember 1916 als Sohn jüdischer Eltern in Hamburg geboren und starb am 21. August 1991 in Poschiavo in der Schweiz. 1933 emigrierte er über England nach Palästina, wo er eine Schreinerlehre absolvierte. 1937 begann er an der Central School of Arts and Crafts (London) Malerei, Textilentwurf und Bühnenbildnerei zu studieren und nahm von London aus am Sommerkurs für Bühnenbild bei Emil Pirchan in Salzburg teil. Anfang 1939 gestaltete er in London am Tavistock Little Theatre sein erstes Bühnenbild. Nach dem Ausbruch des Zweiten Weltkriegs kehrte er nach Palästina zurück, arbeitete als Information Officer, war Englisch-Lehrer am British Institute und leitete zusammen mit einem Freund einige Zeit die Werbeagentur »HW«. Er beteiligte sich an Kunstausstellungen und veröffentlichte einige Gedichte, Essays und Kritiken. 1946 kehrte er nach London zurück, um Bühnenbildner zu werden, wurde aber für die Nürnberger Prozesse engagiert. Im Januar 1947 reiste er nach Nürnberg, dolmetschte für die amerikanische Besatzungsmacht und beteiligte sich wieder an Kunstausstellungen. 1949 zog er nach Ambach am Starnberger See, um als freier Maler und Grafiker zu arbeiten, schrieb im Januar 1950 aber eine Geschichte für Kinder – der Beginn seiner literarischen Karriere. Bereits 1951 wurde er zur Gruppe 47 eingeladen, 1955 erhielt er den Hörspielpreis der Kriegsblinden und im selben Jahr wurde zudem sein erstes Theaterstück von Gustav Gründgens uraufgeführt; ebenfalls in diesem Jahr begann er auch wieder zu malen. Nachdem er 1953 nach München gezogen war, übersiedelte er 1957 nach Poschiavo und widmete sich einer neuen Art von Theaterstücken, deren Besonderheiten er 1960 mit der Rede Über das absurde Theater fundierte. Anlässlich der Internationalen Theaterwoche der Studentenbühnen in Erlangen gehalten, sorgte diese für Aufsehen. Sein Prosabuch Tynset wurde 1966 mit dem Georg-Büchner-Preis und dem Bremer Literaturpreis ausgezeichnet. Sein Bestseller Mozart (1977) beeinflusste das Theaterstück und den Film Amadeus. Seit 1961 beteiligte er sich wieder an Ausstellungen, seit 1965 wurde sein bildkünstlerisches Werk in rund fünfzig Einzelausstellungen gezeigt. 1980 hielt Hildesheimer die Eröffnungsrede der Salzburger Festspiele Was sagt Musik aus. Neben seinen literarischen Werken verfertigte Hildesheimer auch Collagen, die er in mehreren Bänden sammelte. Spektakulär war 1984 seine Ankündigung, angesichts der drohenden Umweltkatastrophe nicht mehr zu schreiben, sondern zur bildenden Kunst zurückzukehren. T. S. Eliot, geboren 1888 in St. Louis/Missouri, gestorben 1965 in London, ist einer der bedeutendsten Dichter des 20. Jahrhunderts.
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What a disaster! Snöfrid’s stream has disappeared during the night! Without water there can be no porridge, and Snöfrid doesn’t have to think twice. This problem must be solved immediately! The hunt for water begins with a wet meeting at the pond of the little nymph Flumina, but when it turns into a hunt for the mysterious river pearl, involving a submersible boat, the story quickly becomes an underwater adventure, and who knows how it will end? Magical adventure, great fun for boys and girls, by Spiegel bestselling author Andreas H. Schmachtl.
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Reading, writing and the influence of Harold Bloom takes the work of the world's best-known living literary critic and discovers what it is like to read 'with', 'against' and 'beyond' his ideas. The editors, Alan Rawes and Jonathon Shears, introduce the collection by assessing the impact of Bloom's brand of agonistic criticism on literary critics and its ongoing relevance to a discipline attempting to redefine and settle on its collective goals. Firmly grounded in, though not confined to, Bloom's first specialism of Romantic Studies, the volume contains essays that examine Bloom's debts to high Romanticism, his quarrels with feminism, his resistance to historicism, the tensions with the 'Yale School' and his recent work on Shakespeare and genius. Crucially, chapters are also devoted to putting Bloom's anxiety-themed ratios into practice on the poetry of Wordsworth, Shelley, Keats and D. H. Lawrence, amongst others. The Harold Bloom that emerges from this collection is by turns divisive and unifying, marginalised and central, radical and conservative.
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A profound exploration of the connection between poetry and suicide. 'Suicides have a special language,' Anne Sexton wrote in her 1964 poem 'Wanting to Die'. But is it a language we can learn to read? In The poetry of suicide, J. T. Welsch interweaves stories of poets who took their own lives with the long history of suicide in his own family, searching for a new way of understanding these difficult deaths. Beginning with Hamlet's 'To be or not to be?', he delves into the work of Dante, Sylvia Plath, Vladimir Mayakovsky and others, asking what it can teach us about suicide's messy reality. Suicide is more like poetry than we realise, Welsch argues. Both are filled with ambiguities, contradictions and unknowable intentions. Both demand and resist interpretation. Recovering the personal dimension often lost in our medicalised public discourse, Welsch finds practical ways of confronting suicide's poem-like difficulties.
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A. T. Moore's thorough commentary on "Love's Sacrifice" is designed to be of use to all kinds of readers, from students of Early Modern drama to specialists in the field. The notes provide full explanations of obscure words and phrases, and offer analyzes of many aspects of staging and interpretation. The text for this edition is based on a fresh study of the quarto of 1633, the only authoritative early text. In his introduction to the play, Moore reappraises the evidence for the play's date of composition. He also looks at the circumstances of the play's genesis, presenting detailed discussions of both the theater where "Love's Sacrifice" was first performed and the acting company for which it was written. Arguing that Ford's adaptation of his source materials is the key to interpreting this remarkably allusive play, Moore provides a wealth of new information about Ford's sources.The introduction also includes a survey of critical responses, an overview of the play, stage history, and a bibliography of relevant secondary material. This new volume in the "Revels Plays" series is the most detailed and comprehensive edition of "Love's Sacrifice" ever published - and the first modern-spelling edition of Ford's tragedy in more than a century. The play's textual history is discussed in an appendix. A second appendix examines possible links between "Love's Sacrifice" and the real-life story of the murdered Italian prince and musician Carlo Gesualdo. ;
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