A Portrait of the Artist as a Young Man and Dubliners, by James Joyce, is part of theBarnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics:
In the semi-autobiographical Portrait, young Stephen Dedalus yearns to be an artist, but first must struggle against the forces of church, school, and society, which fetter his imagination and stifle his soul. The book's inventive style is apparent from its opening pages, a record of an infant's impressions of the world around himand one of the first examples of the stream of consciousness" technique.
Comprising fifteen stories, Dubliners presents a community of mesmerizing, humorous, and haunting charactersa group portrait. The interactions among them form one long meditation on the human condition, culminating with The Dead," one of Joyce's most graceful compositions centering around a character's epiphany. A carefully woven tapestry of Dublin life at the turn of the last century,Dubliners realizes Joyce's ambition to give his countrymen one good look at themselves."Kevin J. H. Dettmar is Professor of English and Cultural Studies at Southern Illinois University Carbondale. He is the author or editor of a half-dozen books on James Joyce, modernist literature, and rock music. He is currently finishing a term as President of the Modernist Studies Association.
This title provides with introductions by Dr Dieter Fuchs and Joseph O'connor. Against the backdrop of nineteenth century Dublin, a boy becomes a man: his mind testing its powers, obsessions taking hold and loosening again, the bonds of family, tradition, nation and religion transforming from supports into shackles; until the young man devotes himself to the celebration of beauty, and reaches for independence and the life of an artist.
Turning a skeptical eye on the idea that Renaissance artists were widely believed to be as utterly admirable as Vasari claimed, this book re-opens the question of why artists were praised and by whom, and specifically why the language of divinity was invoked, a practice the ancients did not license. The epithet "divino" is examined in the context of claims to liberal arts status and to analogy with poets, musicians, and other "uomini famossi." The reputations of Michelangelo and Brunelleschi are compared not only with each other but with those of Dante and Ariosto, of Aretino and of the ubiquitous beloved of the sonnet tradition. Nineteenth-century reformulations of the idea of Renaissance artistic divinity are treated in the epilogue, and twentieth-century treatments of the idea of artistic "ingegno" in an appendix.
A young boy and his pussycat discover a world of sounds in this early-level, phonics-based reader.
From the music of the pussycat to father singing in the shower, young readers will delight in the sounds they discover.
Drawing on the rich literary tradition of the aphorism, Pablo Helguera uses an anthropologist's lens to comment on contemporary art its practice. While this is a book directed to visual artists, the reflections of An Atlas of Commonplaces provide a window to current issue around art making for art professionals and the general public alike. Pablo Helguera (Mexico City, 1971) is a visual artist living in New York. He is the author of many books including The Parable Conference, (2014), Education for Socially Engaged Art (2011) and Art Scenes: The Social Scripts of the Art World (2012).
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