Category: Text, English literature, United States
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For the last decade of the nineteenth century and at least the first two decades of the twentieth, Rudyard Kipling (1865-1936) was one of the most popular writers in the English language, in both prose and verse. He was among the last British poets to command a mass audience, appealing to readers of all social classes and ages. Although his few novels, except Kim , were only a mixed success, in the medium of the short story Kipling extended the range of English fiction in both subject matter and technique and perhaps did more than any other author in the English language to blur the division between popular and high art. Rudyard Kipling: The Books I Leave Behind , an exhibition held in 2007, was the first comprehensive show to be presented anywhere in over fifty years.
Online Editor's Introduction (Version 3.0) The Online Versions Representative Poetry Online , version 3.0, includes 4,079 English poems by 618 poets from Caedmon, in the Old English period, to the work of living poets today. It is based on Representative Poetry , established by Professor W. J. Alexander of University College, University of Toronto, in 1912 (one of the first books published by the University of Toronto Press), and used in the English Department at the University until the late 1960s. Its electronic founder and editor since 1994 is Ian Lancashire , who is a member of the Department of English, University of Toronto. He edits the poems in affection for and gratitude to their authors, whose works enrich and restore our lives.
Introduction by Anne Posega With these words Hanmer voiced England's growing national pride in Shakespeare, a pride materially represented by the numerous editions which were produced in the 18th century. Different editors argued for their textual emendations in prefaces, footnotes, and advertisements, and the debate fueled layer after layer of criticism and responses. In a similar way, the illustrations in these editions were themselves transforming, starting with the first illustrated edition in 1709. Edited by Nicolas Rowe and printed for Jacob Tonson, The Works of Mr. William Shakespear, in Six Volumes was the first edition to be "Adorn'd with cuts". The illustrations in this edition were generally theatrical in nature, with many looking like illustrations of a production.
About Scholars' Bank Welcome to Scholars' Bank , an open-access digital repository created to capture, distribute and preserve the intellectual output of the University of Oregon. Scholars' Bank is maintained by the University of Oregon Libraries, under the coordination of Digital Library Services . Using the open-source software DSpace, available from MIT and Hewlett Packard, Scholars' Bank provides stable, long-term storage needed to house the digital products of UO faculty and researchers. If you are interested in starting a community or contributing to an existing community contact a Scholars' Bank representative at scholars@uoregon.edu .
History of Medicine Harry Potter's World: Renaissance Science, Magic, and Medicine I n 1997, British author J. K. Rowling introduced the world to Harry Potter and a literary phenomenon was born. Millions of readers have followed Harry to the Hogwarts School of Witchcraft and Wizardry where he discovers his heritage, encounters new plants and animals, and perfects his magical abilities. Although a fantasy story, the magic in the Harry Potter books is partially based on Renaissance traditions that played an important role in the development of Western science, including alchemy, astrology, and natural philosophy.
A London Provisioner's Chronicle, 1550–1563, by Henry Machyn: Manuscript, Transcription, and Modernization is an electronic scholarly edition created by Richard W. Bailey, Marilyn Miller, and Colette Moore. The Chronicle was one of the treasures of the library of the antiquarian Robert Cotton, and it was stored in the same bookcase with the Beowulf manuscript. Its location was in the book press surmounted by a bust of the Roman emperor Vitellius, and it takes its shelf mark in the British Library from that location: Cotton Vitellius F.v. In the terrible fire that did so much damage to this library in the early eighteenth century, the 162 leaves of the diary were badly damaged and portions of the outside margins and the top of the text were charred or burned away.
