Craig Literary, founded by Jessica Craig in 2016, is a full-service literary agency representing diverse writers of fiction, non-fiction, and children's books. The agency grows out of Jessica Craig's 20+ years of experience as a top foreign rights agent and on her record as an effective international champion of high quality authors, from established names to outstanding debuts, and across genres in fiction and non-fiction.
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A key source for international publishers looking for new titles from Japan, we facilitate collaborations with Japanese authors, illustrators and publishers. We also assist publishers who are licensing Japanese content with translation, adaptation and localization to make publishing Japanese books in translation as easy as possible. In Japan, the crane is a symbol of good fortune, happiness and longevity. Origami folded paper cranes are often given as an expression of good wishes and peace. At Paper Crane, we hope that all the titles we present or create – our “good wishes” from Japan – will bring enjoyment to readers of all ages, wherever they are in the world.
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In this study, Kathryn Walls challenges the standard identification of Una with the post-Reformation English Church, arguing that she is, rather, Augustine's City of God - the invisible Church, whose membership is known only to God. Una's story (its Tudor resonances notwithstanding) therefore embraces that of the Synagogue before the Incarnation as well as that of the Church in the time of Christ and thereafter. It also allegorises the redemptive process that sustains the true Church. Una is fallible in canto I. Subsequently, however, she comes to embody divine perfection. Her transformation depends upon the intervention of the lion as Christ. Convinced of the consistency and coherence of Spenser's allegory, Walls offers fresh interpretations of Abessa (as Synagoga), of the fauns and satyrs (the Gentiles), and of Una's dwarf (adiaphoric forms of worship). She also reinterprets Spenser's marriage metaphor, clarifying the significance of Red Cross as Una's spouse in the final canto.
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Im Zentrum der traditionellen analytischen Philosophie steht die Suche nach hinreichenden und notwendigen Bedingungen des jeweils zu untersuchenden Begriffs. Craig zeigt, daß solche Untersuchungen im Hinblick auf den Wissensbegriff zwar nützliche Daten liefern können, bisher aber gescheitert sind und im Grunde genommen am Witz dieses Begriffs vorbeigehen. Statt der analytischen Untersuchung will Craig verstehen, auf welches (praktische) Bedürfnis die Menschen mit der Entwicklung des Wissensbegriffs reagieren. Dieser Ansatz wird im Sinne einer pragmatischen Untersuchung ausgebaut und anhand von Beispielen unter steter Berücksichtigung der klassischen Analyse (»Wissen« = »wahre Überzeugung mit triftiger Begründung«) erörtert. Der so gewonnene »pragmatische« Wissensbegriff wird sodann mit Gegenbeispielen konfrontiert, und es wird gezeigt, daß ein für Menschen brauchbarer Wissensbegriff objektiv sein muß. Der bei diesen Untersuchungen in Anspruch genommene und begründete Pragmatismus steht in gespannter Beziehung zu allen Formen des Skeptizismus. Bei der durch dieses Spannungsverhältnis ausgelösten Auseinandersetzung mit dem Skeptizismus unterscheidet Craig zwischen kulturgeschichtlichen Gründen für die skeptizistische Einstellung und solchen, die auf den pragmatischen Ursprung des Wissensbegriffs und die Deutung des Objektivierungsprozesses zurückgehen. Erörtert werden dabei einerseits theologisch/religiös und naturwissenschaftlich motivierte Formen des Skeptizismus und andererseits solche, die im Umkreis der Zweckfrage bezüglich des Wissens entstehen, womit der Zusammenhang zwischen der nie zur Ruhe kommenden skeptischen Problematik und den Ergebnissen der vorangehenden Untersuchungen hergestellt wird.
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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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Aus dem Englischen von Karl-Heinz Ebnet
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Aus dem Englischen von Urban Hofstetter
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