by Wayne G. Hammond, Christina Scull (1995)
J.R.R. Tolkien (1892-1973), renowned author of The Hobbit, The Lord of the Rings, and The Silmarillion, was an artist in pictures as well as in words. Though he often remarked that he had no talent for drawing, his art has charmed his readers and has been exhibited to large and appreciative audiences. In fact, his talent was far more than he admitted, and his sense of design was natural and keen. This book explores Tolkien's art at length, from his childhood paintings and drawings to his final sketches. At its heart are his illustrations for his books, especially his tales of Middle-earth. Also examined are the pictures Tolkien made for his children (notably in his 'Father Christmas' letters and for the story of Mr. Bliss), his expressive calligraphy, his love of decoration, and his contributions to the typography and design of his books. J.R.R. Tolkien, Artist and Illustrator includes 200 reproductions, many in colour and over half published for the first time.
Gerri Kimber and Janet Wilson
The essays in this volume draw on the complete journals, letters and stories, to reveal Mansfield as a modernist who transcended her artistic influences through a supreme understanding of voice, being and subjectivity.
Alexandra W. Schultheis
"In Regenerative Fiction, Alexandra W. Schultheis brings postcolonial and psychoanalytic theories together to explore this tumultuous zone, a place that is at once cutting edge, open wound, and sutured scar. This analysis of the authors' political and aesthetic strategies reveals fissures in the ruling ideology of subject and nation as well as immanent resistance to it."--Jacket.
edited and with an introduction by Harold Bloom
This book, a collection of contemporary criticism on J.R.R. Tolkien's "The Lord of the Rings," contains essays by Michael Moorcock, Jane Chance, Michael N. Stanton, Mark T. Hooker, Jared Lobdell, Marjorie Burns, Andrew Lynch, Sue Zlosnik, Verlyn Flieger, Mary R. Bowman, and Nancy Enright.
Margaret Hubbard
"'Propertius' four books of love-elegies (c. 32 - 12 BC) were produced during the heyday of Augustan literature. His poetry has been noted by modern critics for its striking forms of expression, sometimes tortured syntax, sudden transitions and abstruse allusiveness. Much of this &difficulty&, Hubbard argues, may stem as much from the many impenetrable corruptions in our surviving, comparatively late manuscripts as from Propertius himself. For ancient critics, in contrast with the modern, read him as polished, elegant and amusing. This book presents a Propertius along these latter lines. The four central chapters of this volume deal broadly with the four books, but at the same time raise general issues, such as the unity of Propertius' oeuvre, or his self-acknowledged indebtedness to Callimachus. Throughout Hubbard analyses in detail both extended and shorter passages which are always given in both the original and in a no-nonsense prose translation. There emerges a reading of the poet which renders him immediately accessible to student and general reader, while providing insights equally challenging for specialists."--Bloomsbury Publishing Propertius' four books of love-elegies (c. 32-12 BC) were produced during the heyday of Augustan literature. His poetry has been noted by modern critics for its striking forms of expression, sometimes tortured syntax, sudden transitions and abstruse allusiveness. Much of this "difficulty", Hubbard argues, may stem as much from the many impenetrable corruptions in our surviving, comparatively late manuscripts as from Propertius himself. For ancient critics, in contrast with the modern, read him as polished, elegant and amusing. This book presents a Propertius along these latter lines. The four central chapters of this volume deal broadly with the four books, but at the same time raise general issues, such as the unity of Propertius' oeuvre, or his self-acknowledged indebtedness to Callimachus. Throughout Hubbard analyses in detail both extended and shorter passages which are always given in both the original and in a no-nonsense prose translation. There emerges a reading of the poet which renders him immediately accessible to student and general reader, while providing insights equally challenging for specialists