Annick Press
Livres Canada Books
View Rights PortalTarquin produces books for recreational mathematics, and for students and teachers in schools. We have a near 50 year history of enriching mathematics as well as papercraft and origami titles. Many of our 240 titles have been translated into all the major languages of the world. But as a small publisher, we understand other small publishers and can tailor rights deals appropriately and economically. We have 12 titles that are new in 2020 and where rights are available.
View Rights PortalFor nearly half a century Anne Lake Prescott has been a force and an inspiration in Renaissance studies. A force, because of her unique blend of learning and wit and an inspiration through her tireless encouragement of younger scholars and students. Her passion has always been the invisible bridge across the Channel: the complex of relations, literary and political, between Britain and France. The essays in this long-awaited collection range from Edmund Spenser to John Donne, from Clément Marot to Pierre de Ronsard. Prescott has a particular fondness for King David, who appears several times; and the reader will encounter chessmen, bishops, male lesbian voices and Roman whores. Always Prescott's immense erudition is accompanied by a sly and gentle wit that invites readers to share her amusement. Reading her is a joyful education.
David and Bathsheba presents a modernised edition of George Peele's explosive biblical drama about the tangled lives, deadly liaisons, and twisted histories of Ancient Israel's royal family. Martin's critical edition is the first modern single-volume edition of the play since 1912 and opens up this unduly neglected gem of English Renaissance drama to student and scholar alike. The introduction examines such topics as the play's treatment of its biblical and poetic sources, its engagement with Elizabethan politics, and its forceful representations of religious fanaticism, genocide, and sexual violence. Its commentary notes clarify the text's meaning and staging, guide the reader through the play's dramatisation of the turbulent Davidic period of Ancient Israel's history, and place the play in its broader cultural and artistic milieu. Martin's edition aims to encourage new contemporary critical study of Peele's powerful and disturbing drama.
David and Bathsheba presents a modernised edition of George Peele's explosive biblical drama about the tangled lives, deadly liaisons, and twisted histories of Ancient Israel's royal family. Martin's critical edition is the first modern single-volume edition of the play since 1912 and opens up this unduly neglected gem of English Renaissance drama to student and scholar alike. The introduction examines such topics as the play's treatment of its biblical and poetic sources, its engagement with Elizabethan politics, and its forceful representations of religious fanaticism, genocide, and sexual violence. Its commentary notes clarify the text's meaning and staging, guide the reader through the play's dramatisation of the turbulent Davidic period of Ancient Israel's history, and place the play in its broader cultural and artistic milieu. Martin's edition aims to encourage new contemporary critical study of Peele's powerful and disturbing drama.
This book is the first ever concordance to the rhymes of Spenser's epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas. As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser's rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes. ;
This book is the first ever concordance to the rhymes of Spenser's epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas. As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser's rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.
Testamentarisch hat Uwe Johnson die Peter Suhrkamp-Stiftung und seinen Verleger Siegfried Unseld zum Nachlaßverwalter eingesetzt. Siegfried Unseld beschreibt, wie es dazu kam, beschreibt aus seiner Sicht noch einmal die Begleitumstände, die das große Werk »Jahrestage« zu vollenden ermöglichten. »Für wenn ich tot bin«: es war Uwe Johnsons Wunsch, daß sein Nachlaß gesammelt und nach Frankfurt gebracht wurde. Siegfried Unseld konnte in Verbindung mit der Johann Wolfgang Goethe-Universität ein Uwe Johnson-Archiv einrichten, das dem Gedenken des großen Schriftstellers dient. Eberhard Fahlke, Leiter des Uwe Johnson-Archivs und ausgewiesener Johnson-Forscher, beschreibt in seinem Beitrag die Einrichtung und Anlage des Archivs, welches in seiner Art einzigartig ist.
This volume presents a modernised edition of Christopher Marlowe's critical engagement with one of the bloodiest and traumatic episodes of the French Wars of Religion, the wholesale massacre of French Huguenots in Paris in August, 1572. Sensorily shocking and intellectually gripping, the play's dramatic action spans a tumultuous two decades in French history to unfold for its audience the tragic consequences of religious fanaticism, power politics, and dynastic rivalry. Comprehensively introduced and containing full commentary notes, this edition opens up this frequently neglected but historically significant and dramatically powerful play to student and scholar alike. The introduction examines such topics as the history of the massacre, the play's treatment of its sources, the play's dramatisation of trauma, and the play's exploration of notions of religious toleration.
Four Saints in Three Acts by Gertrude Stein and Virgil Thomson was a major avant-garde phenomenon of the 1930s, an experimental opera that nonetheless achieved remarkable popular success. Photography was a key element of that success, but its complex roles in the construction, representation and dissemination of the opera have hitherto received little critical attention. The photographic recording of the all-African American cast in particular affords a unique insight into the complexities of Four Saints in relation to the Harlem Renaissance and the New York avant-gardes of the time. This book, published in collaboration with The Photographers' Gallery, London, presents a wide selection of photographs of the cast, performances, and other material - many images reproduced for the first time - alongside essays by an international range of scholars exploring different aspects of the opera, including dance, fashion, music, and avant-garde writing, as well as photography.
Uwe Johnson ist im Februar 1984 in Sheerness-on-Sea in der englischen Grafschaft Kent gestorben. Siegfried Unseld, »Freund, Leser, Verleger« nach Johnsons Worten, beschreibt Leben und Werk und die Begleitumstäne, unter denen das große Werk »Jahrestage« vollendet wurde.
Brings together the varied artistic, critical and cultural productions by women scholars, critics and artists between 1790-1900, many of whom are little known in the canonical histories of the period. Questions the concepts of 'scholarship', 'criticism' and 'artist' across the different disciplines. Women discussed include authors (Mary Wollstonecraft Shelley, Sydney Morgan and Anna Jameson) actresses ( Elizabeth Siddons, Dorothy Jordan, and Mary Robinson) critics ( Margaret Oliphant and Mary Cowden Clarke) historians (Agnes Strickland, Lucy Aikin, Mary Anne Everett Green, Elizabeth Cooper and Lucy Toulmin Smith) as well as the writers and readers of Women's magazines, educationalists and translators. Makes a significant and original contribution to the development of gender studies by extending the frontiers of existing knowledge and research. ;
Uwe Johnson wurde am 20. Juli 1934 in Kammin (Pommern), dem heutigen Kamien Pomorski, geboren und starb am 22. oder 23. Februar 1984 in Sheerness-on-Sea. 1945 floh er mit seiner Mutter und seiner Schwester zunächst nach Recknitz, dann nach Güstrow in Mecklenburg. Sein Vater wurde von der Roten Armee interniert und 1948 für tot erklärt. 1953 schrieb er sich an der Universität Leipzig als Germanistikstudent ein und legte sein Diplom über Ernst Barlachs Der gestohlene Mond ab. Bereits während des Studiums begann er mit der Niederschrift des Romans Ingrid Babendererde . Reifeprüfung 1953. Er bot ihn 1956 verschiedenen Verlagen der DDR an, die eine Publikation ablehnten. 1957 lehnte auch Peter Suhrkamp die Veröffentlichung ab. Der Roman wurde erst nach dem Tode von Uwe Johnson veröffentlicht. Der erste veröffentlichte Roman von Uwe Johnson ist Mutmassungen über Jakob. Von 1966 – 1968 lebte Uwe Johnson in New York. Das erste Jahr dort arbeitete er als Schulbuch-Lektor, das zweite wurde durch ein Stipendium finanziert. Am 29. Januar 1968 schrieb er in New York die ersten Zeilen der Jahrestage. Aus dem Leben von Gesine Cresspahl nieder. Deren erste ›Lieferung‹ erschien 1970. Die Teile zwei und drei schlossen sich 1971 und 1973 an. 1974 zog Uwe Johnson nach Sheerness-on Sea in der englischen Grafschaft Kent an der Themsemündung. Dort begann er unter einer Schreibblockade zu leiden, weshalb der letzte Teil der Jahrestage erst 1983 erscheinen konnte. 1979 war Uwe Johnson Gastdozent für Poetik an der Johann Wolfgang Goethe-Universität in Frankfurt. Ein Jahr später erschienen seine Vorlesungen unter dem Titel Begleitumstände. Sein Nachlass befindet sich im Uwe Johnson-Archiv an der Universität Rostock.
A Vision of Battlements is the first novel by the writer and composer Anthony Burgess, who was born in Manchester in 1917. Set in Gibraltar during the Second World War, the book follows the fortunes of Richard Ennis, an army sergeant and incipient composer who dreams of composing great music and building a new cultural world after the end of the war. Following the example of his literary hero, James Joyce, Burgess takes the structure of his book from Virgil's Aeneid. The result is, like Joyce's Ulysses, a comic rewriting of a classical epic, whose critique of the Army and the postwar settlement is sharp and assured. The Irwell Edition is the first publication of Burgess's forgotten masterpiece since 1965. This new edition includes an introduction and notes by Andrew Biswell, author of a prize-winning biography of Anthony Burgess.
This volume is the first ever attempt to unite and translate some of the key texts which informed Johan Huizinga's famous study of the Burgundian court, The Waning of the Middle Ages, a work which has never gone out of print. It combines these texts with sources that Huizinga did not consider, those that illuminate the wider civic world that the Burgundian court inhabited and the dynamic interaction between court and city. Through these sources, and an introduction offering new perspectives on recent historiography, the book tests whether Huizinga's controversial vision of the period still stands. Covering subjects including ceremonial events, such as the spectacles and gargantuan banquets that made the Burgundian dukes the talk of Europe, the workings of the court, and jousting, archery and rhetoric competitions, the book will appeal to students of late medieval and early modern Europe and to those with wider interests in court culture, ritual and ceremony.
This is the first introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. Building on previous critical work in the field, this volume will bring together ideas from a range of disciplines - film studies, African cultural studies, and, in particular, postcolonial studies - in order to combine the in-depth analysis of individual films and bodies of work by individual directors with a sustained interrogation of these films in relation to important theoretical concepts. Structurally, the book is straightforward, though the aim is to incorporate diversity and complexity of approach within the overall simplicity of format. Chapters provide both an overview of the director's output to date, and the necessary background - personal or national, cultural or political - to enable readers to achieve a better understanding of the director's choice of subject matter, aesthetic or formal strategies, or ideological stance. They also offer a particular reading of one or more films, in which the authors aim to situate African cinema in relation to important critical and theoretical debates. This book thus constitutes a new departure in African film studies, recognising the maturity of the field, and the need for complex yet accessible approaches to it, which move beyond the purely descriptive while refusing to get bogged down in theoretical jargon. Consequently, the volume should be of interest not only to specialists but also to the general reader.