Die Grössen der modernen Literatur populär und kritisch nach neuen Gesichtspunkten dargestellt.

1. Bd. Einleitung über alles Vormoderne. Wiederauffrischung Shakespeares. Voltaire. Goethe. Bürger. Geistige Lage im 18. Jahrhundert.--2. Bd. Grössenschätzung. Rousseau. Schiller. Byron. Shelley. Blosse Auszeichnungen. Jahrhundertsabschluss.

Nuovi profili letterari,

v. III. Scrittori comici: G.M. Cecchi, G.B. Porta, Pandolfo Collenuccio, Bernardo Divizio, Lorenzino de' Medici, Alessandro Piccolomini, G.B. Gelli, Agostino Ricchi, Girolamo Gigli, La commedia dell' arte alla corte di Baviera nel secolo XVI, I tipi comici.--v. IV. Poligrafi: G.B. Giraldi Cintio, Mescolanze d'amore, Senofonte Efesio, Giuseppe Betussi, Federigo Luigini, Lodovico Dolce, Mons. Paolo Giovio, G.F. Pico della Mirandola, Antonfrancesco Doni, Tommaso Moro e T. Campanella, Giuseppe Averani, Card. Guido Bentivoglio, Lucio Annea Seneca, Erasmo, Tullia d'Aragona, Tommaso Garzoni, M. Cervantes Saavedra, Antonio Picozzi, Il trecento in Francia.

Die Götter Griechenlands von Schiller bis zu Heine /

Thesis (Ph. D.)--Friedrich-Wilhelms-Universität zu Berlin.

Perudot; ḳovets sifruti le-ḳorʹim tseʻirim

Mode of access: Internet.

The later renaissance.

Mode of access: Internet.

Critical miscellanies,

I. Robespierre. Carlyle. Byron. Macaulay. Emerson. --II. Vauvenargues. Turgot. Condorcet. Joseph de Maistre. --III. On popular culture. The death of Mr. Mill. Mr. Mill's Autobiography. The life of George Eliot. On Pattison's Memoirs. Harriet Martineau. W.R. Greg; a sketch. France in the eighteenth century. The expansion of England. Auguste Comte.

Critical miscellanies /

Vols. 1-3 enlarged from a series of articles in the Fortnightly review.

Critical miscellanies,

Vol. 4, reprinted from the Times and Nineteenth century, has imprint: New York, The Macmillan company, 1908.

Radical Language, Radical Identity: Korean Writers in Japanese Spaces and the Burden to "Represent"

Thesis (Ph.D.)--University of Washington, 2016-06

Plastic / Explosive: Claude Cahun and the Politics of Becoming Otherwise

Thesis (Ph.D.)--University of Washington, 2016-06

The Blue Highway

The Blue Highway is a collection of eleven literary short stories and ten miniatures that depict men in trouble, searching for a code to live by. The miniatures are repressed memories, appearing suddenly like the tips of ice bergs and act as stepping stones (tension bridges) between the larger works. The stories begin at the end with "Time Out", the story of Frank, a down and out homeless vet at the end of his rope. Then we begin the journey along "The Blue Highway" with Danny and his gang of teenage bandits, taking themselves to Disney World to see if they can recapture their lost dream. On our journey we will meet Mark, the ex-killer, an old Cuban fisherman who will not give up his honor, a young man on a way to a war who discovers a fantastic treasure, a soldier on his way home again, two MP's who nearly kill the wrong man, we will spend a night on an African savannah with wild hyenas and finally, meet a grandfather who discovers the one gift which might save his family. The same gift which might save Frank as well. ^

Such a Nice Man

In this novel, Gregory "Go" Overman, a Washington D.C. stock analyst, fears for the welfare of his beloved sister when she falls for a Florida billionaire with a shady reputation. While attempting to find evidence of the billionaire's chicanery, he gets involved with a young hooker his sister is attempting to rehabilitate. Beginning with a lie to his sister, Go's lust pulls him to such a low moral point he wonders if he's become no better than his greedy antagonist. But when tragedy strikes, he unearths secrets that enable him to avenge his sister and redeem himself. This novel is written from the viewpoint of a first-person narrator and contains four sections totaling forty-eight chapters. ^

Eden in the age of the fifth sun: The narrative work of Homero Aridjis

Homero Aridjis (b. 1940) is a major Mexican poet, novelist, essayist and ecological activist whose prolific body of work, ranging over forty years and including more than eleven volumes of poetry and thirteen novels, has yet to be studied as a coherent literary corpus in the context of recent Latin American fiction. The purpose of this dissertation was to analyze the narrative works of this author as both illustrative of the changes that have occurred in Latin American fiction since the 1960s when it first burst onto the world scene, as well as to study the uniqueness of this particular author's view of literature as it relates to historical discourse, apocalypticism. and social commitment. ^ Research showed that in the case of the narrative style of Aridjis, major trends in the contemporary Latin American novel were present in such a profuse and model manner as to confirm this author's importance as a prime example of what is commonly known as “Post-Boom” fiction. However, beyond the mere presence of literary elements, this study showed that the author's unique approach to narrative style has altered and expanded the aesthetic and thematic possibilities of the contemporary novel. The area where this is most clearly seen is in his experimentation with the historical genre. By manipulating the referential techniques of what has lately come to be known as the “new historical novel,” Aridjis has written both a cycle of purely historical novels and a cycle of futuristic ones that attempt to transcend the temporal limits traditionally imposed by these narrative forms, fusing them into one constant questioning of the nature of love, hate and identity. In this manner, he has developed a “simultaneist” narrative approach where distinct historical and imagined periods, places, people, things, and texts coexist and interact, widening almost to delirium the interpretative possibilities of the work. ^ This unique view of time and narrative, together with the author's political activism and millenarian view of history, make the novels of Homero Aridjis an important element in understanding the continuing development and evolution of Latin American fiction at the turn of the century. ^

The dynamics of movement: Toward a definition of a Latin American identity in contemporary fiction

Concha Meléndez opened up a venue for the discussion of a Latin American identity in works of literature when she implied that the great Latin American novel would gestate in the cities, the space where the typical Latin American would achieve an ideal state of consciousness and intellectual capabilities. ^ Her point of view mirrored nineteenth-century debate on a Latin American identity. Similar to her viewpoint, intellectuals of this period viewed the cities and their inhabitants of European extraction, as the ideal spaces and people on which an identity could be defined. However, the present state of urban and rural areas in Latin America demonstrates that there is no such clear-cut division of city and countryside or of their inhabitants. The dynamics of movement, from rural to urban areas, of people of diverse ethnic, and socioeconomic backgrounds, make it difficult to uphold descriptors of space, race, or culture, as sole descriptors of an identity. ^ A study of five twentieth-century novels from North and South America, La muerte de Artemio Cruz (1962), Hasta no verte Jesús mío (1969), Los ríos profundos (1981), La casa de los espíritus (1982), and Los años con Laura Díaz (1999) reveal that the dynamism of movement, between countryside, and cities of peoples of distinct races and social backgrounds, hamper the definition of a collective identity in specific spaces. As characters move, they are constantly reconfiguring their identities and creating tensions and conflicts that intensify social, racial and economic divisions in society. This makes it difficult to ascribe permanent identity descriptors, much less define a collective identity. ^ However, as writers of fiction address the malaise in Latin American societies, they have unearthed descriptors such as history, economy, land, and movement that advance a collective definition of self in these societies. Additionally, female characters have been granted a new identity. The overwhelming evidence in this study points to ‘land’ as the prime factor in the identity dilemma and suggests that a definition will not be possible until the vast landless populace is granted a space they can call home. Only then, perhaps, will Meléndez novel surface. ^

Relectura del discurso narrativo de las primeras tres decadas de la Republica Cubana en el contexto de los rasgos de la picaresca

The purpose of this dissertation was to study the narrative discourse of three Cuban novelists who produced their works from 1902 to 1933, using a typology that reveals a picaresque view of Cuban society. Focusing on La conjura and La manigua sentimental by Jesús Castellanos (1879–1912), Las honradas and Las impuras by Miguel de Carrión (1875–1929), and Generales y doctores and Juan Criollo by Carlos Loveira (1882–1928), this dissertation identified and defined picaresque traits and elements in the characterization, contrasting main and secondary, male and female characters, at all social levels. ^ The study considered the theories of the Spanish picaresque novel proposed by Antonio Maravall, Américo Castro, Claudio Guillén, Marcel Bataillon, and other critics, in order to delineate a model of traditional picaresque behavior, which was then applied to the analysis of each character. Sociopolitical and cultural conditions, as well as the psychology of the Cuban collective as presented by the authors, were also analyzed to pinpoint similarities and differences between the traditional Golden Age rogue and the characters created by the authors. ^ Critics who have studied the influence of the Spanish picaresque genre on the Latin American novel make no reference to any of the authors or novels included in this study. Key analyses, however, identified the presence of characters that use picaresque modes of behavior as a means to manipulate the structures of power in order to survive and as a futile attempt to achieve their ends within a socioeconomic context that is undergoing a significant transition. Castellanos' characters use their picaresque behavior mainly to attain a higher social status. Carrion concentrates on picaresque behavior in women as a means to manipulate the dominant male society, while Loveira's picaresque characters are mainly interested in securing a position of political power. ^