Gabriel Okara, a prize-winning author whose literary career spans six decades, is rightly hailed as the elder statesman of Nigerian literature. The first Modernist poet of anglophone Africa, he is best known for The Fisherman Invocation (1978), The Dreamer, His Vision (2005), and for his early experimental novel, The Voice (1964). Arranged in six sections, Gabriel Okara: Collected Poems includes the poet earliest lyric verse along with poems written in response to Nigeria war years; literary tributes and elegies to fellow poets, activists, and loved ones long dead; and recent dramatic and narrative poems. The introduction by Brenda Marie Osbey contextualizes Okara work in the history of Nigerian, African, and English language literatures. Gabriel Okara: Collected Poems is at once a treasure for those long in search of a single authoritative edition and a revelation and timely introduction for readers new to the work of one of Africa most revered poets.
Very much the same line of argument may be ap plied to the first attempt of the Moravian Church to establish a settlement on the American Continent. The story is usually passed over by historians in a few short paragraphs, and yet without the colony in Georgia, the whole history of the Renewed Church of the Unitas Fratrum would have been very different. Without that movement the Moravian Church might never have been established in Eng land, without it the great Methodist denomination might never have come into being, without it the American Moravian provinces, North or South, might not have been planned. Of course Provi dence might have provided other means for the accomplishment of these ends, but certain it is that in the actual development of all these things the unsuccessful attempt in Georgia, 1735 to 1740, played a most important part.
In the long array of distinguished Swedish poets the most striking and probably the greatest figure is that of Gustaf proding. He is at least the most powerful, the most popular and the most finely imaginative. He unites the qualities already mentioned with remarkable breadth of appeal, intellectual vigor, and a compactness of style that makes every phrase significant. In his pictures of peasant life he reminds one most of Burns, some of whose songs he translated, but his ironic humor is more like that of Heine. The visionary gift appears in poems of almost Shelleyan ideal beauty, and his power of dramatic narrative has a virility which makes the work of Kipling seem journalistic. Above all in every line we are impressed by his complete originality.
Four key new translations of plays (including three previously unpublished works) written at the turn of the 20th century, charting the descent of Russia into revolutionHailed by Chekhov as the voice of his time, Gorky's four plays offer a panoramic view of Russia in the throes of revolution.THE ZYKOVS is set shortly before the Bolshevik Revolution of October 1917. Antipa Zykov is a merchant adventurer. His young wife, Pavla is an unworldly convent-bred girl, too weak to realise these ideals in her stormy marriage.EGOR BULYCHOV is set on the eve of revolution as the rich businessman of the title is given power, after the Tsar's abdication. But the songs of the demonstrating crowds outside his window show that his days are numbered.Subtitled 'The Mother' and hugely controversial at the time of its first production VASSA ZHELEZNOVA, is a tragic portrait of a woman with an iron will determined to root out the corruption in her family in order to keep control of the family business.Written during his most religious phase, THE LAST ONES is about a corrupt police chief and his family who face death at the hands of revolutionaries as he tries to fight back by lynching a young man.
Every now and then, a song inspires a cultural conversation that ends up looking like a brawl. Merle Haggard's Okie from Muskogee, released in 1969, is a prime example of that important role of popular music. Okie immediately helped to frame an ongoing discussion about region and class, pride and politics, culture and counterculture. But the conversation around the song, useful as it was, drowned out the song itself, not to mention the other songs on the live album-named for Okie and performed in Muskogee-that Haggard has carefully chosen to frame what has turned out to be his most famous song. What are the internal clues for gleaning the intended meaning of Okie? What is the pay-off of the anti-fandom that Okie sparked (and continues to spark) in some quarters? How has the song come to be a shorthand for expressing all manner of anti-working class attitudes? What was Haggard's artistic path to that stage in Oklahoma, and how did he come to shape the industry so profoundly at the moment when urban country singers were playing a major role on the American social and political landscape?
Oddr Snorrason, a Benedictine monk in northern Iceland in the late twelfth century, composed a landmark Latin biography of the legendary Norwegian king Olaf Tryggvason (died 1000 A.D.).
Михаил Осипович Гершензон (1869;1925 гг.) ; историк литературы, публицист, философ.В издание вошли два произведения Гершензона ; ;Грибоедовская Москва; и ;Мудрость Пушкина;. Первая работа представляет собой опыт исторической иллюстрации к комедии А.С. Грибоедова ;Горе от ума; и является попыткой наглядно представить уголок той подлинной, реальной действительности, которую Грибоедов, творчески преображая, изобразил в своем гениальном произведении.;Мудрость Пушкина; раскрывает в поэзии Пушкина, помимо необычайной художественности, правдивости, народности и пр. также еще иную ценность: ее глубокий философский смысл.
Из воспоминаний Анатолия Фёдоровича Кони (1844—1927), относящихся к 1898 году. «Немного лет прошло со смерти И. Ф. Горбунова, а столь обычное у нас забвение начинает уже вступать и по отношению к нему в свои права. Образ его тускнеет, расплывается в отрывочных воспоминаниях, рисуется в неверных очертаниях. Имя его почти ничего уже не говорит тем, кто не знал или не слышал его лично. И уходит, таким образом, из памяти общества замечательный по своему дарованию русский человек, умевший воплощать в сжатых и ярких формах типические черты нашей бытовой жизни».
Воспоминания Власа Михайловича Дорошевича (1865—1922), впервые опубликованные в 1894 году («Петербургская газета», 27 января, № 26). Опубликовано без подписи. Авторство Дорошевича определяется содержанием (в том числе повтором некоторых эпизодов, встречающихся в последующих его публикациях о Савиной) и стилем произведения. Мария Гавриловна Савина (1854—1915) — русская актриса, с 1874 года выступала в труппе Александринского театра. «Так фамильярно зовет ее Петербург, Одесса, Нижний Новгород, Тифлис, Варшава, Москва, Ростов-на-Дону, Казань, Полтава, — вся Россия. В Париже вы не услышите слова “Бернар”, — Париж зовет свою великую артистку просто “Сарой”».
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