By James Joyce
The portrayal of Stephen Dedalus's Dublin youth and early life, his quest for identification via paintings and his slow emancipation from the claims of family members, faith and eire itself, is additionally an indirect self-portrait of the younger James Joyce and a common testomony to the artist's 'eternal imagination'.
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The planet Quinta is pocked via gruesome mounds and coated by way of a spiderweb-like community. it's a nation of phantoms and of a good looks through insanity. In stark distinction, the staff of the spaceship Hermes represents a knowledge-seeking Earth. As they process Quinta, a depressing poetry takes over and leads them right into a nightmare of bewilderment.
* fantastically illustrated with photos with regards to Zola's existence and works
* Concise introductions to the novels and different works
* the total Rougon-Macquart cycle, in addition to the entire different novels and series
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The Early Novels
THE lifeless WOMANS WISH
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The Rougon-Macquart Cycle
THE FORTUNE OF THE ROUGONS
THE fats AND THE THIN
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THE MILLERS DAUGHTER
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I ACCUSE. .. !
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ÉMILE ZOLA by way of William Dean Howells
ZOLA through Henryk Sienkiewicz
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THE ROUGON-MACQUART relations TREE
INDEX OF CHARACTERS within the ROUGON-MACQUART SERIES
INDEX OF destinations within the ROUGON-MACQUART sequence
The portrayal of Stephen Dedalus's Dublin early life and early life, his quest for identification via artwork and his sluggish emancipation from the claims of kin, faith and eire itself, can also be an indirect self-portrait of the younger James Joyce and a common testomony to the artist's 'eternal imagination'.
Dans le ultimate quantity de los angeles Recherche, « Un amour de Swann » constitue un récit singulier et autonome, celui de l. a. ardour amoureuse qui lie un esthète à une « cocotte ». Tous deux évoluent au sein de l. a. société parisienne bourgeoise de l. a. fin du XIXe siècle, dans un univers imprégné de peinture et de musique.
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Additional info for A Portrait of the Artist as a Young Man (Enriched Classics)
But it wasn’t only their strength he envied, it was their sureness and sensitivity—when they held a thing, you could see how it felt—and the aura of mastery they imparted to everything Earl Wheeler used: the creaking pigskin handle of his salesman’s briefcase, the hafts of all his woodworking tools, the thrillingly dangerous stock and trigger of his shotgun. The briefcase had been of particular fascination to Frank at the age of ﬁve or six; it always stood in the shadows of the front hallway in the evenings, and sometimes after supper he would saunter manfully up to it and pretend it was his own.
18 RICHARD YATES She was waiting for him in the dressing room, ready with a pleasant social face for any of the Laurel Players they might happen to meet on the way out, but they managed to avoid them all. She led him through a side door that opened onto ﬁfty yards of empty, echoing high-school corridor and they walked without touching each other and without speaking, moving in and out of the oblongs of moonlight that lay on the marble ﬂoor. The smell of school in the darkness, pencils and apples and library paste, brought a sweet nostalgic pain to his eyes and he was fourteen again, and it was the year he’d lived in Chester, Pennsylvania—no, in Englewood, New Jersey— and spent all his free time in a plan for riding the rails to the West Coast.
Only after making these discoveries did he begin to remember the events of the night—how he’d sat here drinking until four in the morning, methodically scratching his scalp with both hands, convinced that sleep was out of the question. And only after remembering this did his mind come into focus on an explanation of the noise: it was his own rusty lawnmower, which needed oiling. Somebody was cutting the grass in the back yard, a thing he had promised to do last weekend. 36 RICHARD YATES He rolled heavily upright and groped for his bathrobe, moistening the wrinkled roof of his mouth.