Hobby Japan Co., Ltd.
We release over 300 publications of various genres and formats every year
View Rights PortalWe release over 300 publications of various genres and formats every year
View Rights PortalThis volume proposes new insights into the uses of classical mythology by Shakespeare and his contemporaries, focusing on interweaving processes in early modern appropriations of myth. Its 11 essays show how early modern writing intertwines diverse myths and plays with variant versions of individual myths that derive from multiple classical sources, as well as medieval, Tudor and early modern retellings and translations. Works discussed include poems and plays by William Shakespeare, Christopher Marlowe and others. Essays concentrate on specific plays including The Merchant of Venice and Dido Queen of Carthage, tracing interactions between myths, chronicles, the Bible and contemporary genres. Mythological figures are considered to demonstrate how the weaving together of sources deconstructs gendered representations. New meanings emerge from these readings, which open up methodological perspectives on multi-textuality, artistic appropriation and cultural hybridity.
Bertrand Russell, geboren 1872 in Wales, studierte Mathematik in Cambridge. In seinen schriftstellerischen Tätigkeiten widmete er sich zunächst der Mathematik, später wandte er sich vermehrt philosophischen Themen zu. 1950 erhielt er den Nobelpreis für Literatur. Bertrand Russell verstarb 1970 in Wales.
Bertrand Russell, geboren 1872 in Wales, studierte Mathematik in Cambridge. In seinen schriftstellerischen Tätigkeiten widmete er sich zunächst der Mathematik, später wandte er sich vermehrt philosophischen Themen zu. 1950 erhielt er den Nobelpreis für Literatur. Bertrand Russell verstarb 1970 in Wales.
"In diesem Buch, einer der frühen Schriften des englischen Philosophen, wird der Versuch unternommen, die unmittelbare Erfahrung mit dem Weltbild der Physik zu vereinen. Für Russell sind Substanz, Materie und die Gegenstände keine Realitäten, sondern logische Konstruktionen. Dieser Gesichtspunkt bestimmt seine Erkenntnistheorie wie seine Kritik an den traditionellen philosophischen Fragestellungen. Wichtig geworden sind die in den Probleme der Philosophie vorgetragenen Gedanken für die Entwicklung des logischen Positivismus; der Autor fragt nach den Möglichkeiten des Philosophierens in einem Zeitalter, das die Metaphysik verabschiedet hat und dessen Wissensstand entscheidend von der Naturforschung geprägt ist."
Postmodern, postcolonial and post-truth are broadly used terms. But where do they come from? When and why did the habit of interpreting the world in post-terms emerge? And who exactly were the 'post boys' responsible for this? Post-everything examines why post-Christian, post-industrial and post-bourgeois were terms that resonated, not only among academics, but also in the popular press. It delves into the historical roots of postmodern and poststructuralist, while also subjecting more recent post-constructions (posthumanist, postfeminist) to critical scrutiny. This study is the first to offer a comprehensive history of post-concepts. In tracing how these concepts found their way into a broad range of genres and disciplines, Post-everything contributes to a rapprochement between the history of the humanities and the history of the social sciences.
The project researches the difference between a revision vs. a rewriting. The book explores the English poems and plays of the Early New English period, from the sixteenth to the beginning of seventeenth century, with over 50 entries examined. The main material is the poem A Lover's Complaint; the play Double Falsehood by Lewis Theobald; the revised and rewritten post-Restoration plays such as Richard II (revised by Lewis Theobald), and The Fatal Secret (rewritten Webster's The Duchess of Malfi) by Lewis Theobald. An example of authorial revision is Sonnets 2 and 138.