2020, ISBN: 9780933532779

Gebundene Ausgabe

Victor Gollancz, 1980. Hardcover in Dustjacket. Near Fine. Goblin Market (composed in April 1859 and published in 1862) is a narrative poem by Christina Rossetti. The poem tells the s… Mehr…

Victor Gollancz, 1980. Hardcover in Dustjacket. Near Fine. Goblin Market (composed in April 1859 and published in 1862) is a narrative poem by Christina Rossetti. The poem tells the story of Laura and Lizzie who are tempted with fruit by goblin merchants.[1] In a letter to her publisher, Rossetti claimed that the poem, which is interpreted frequently as having features of remarkably sexual imagery, was not meant for children. However, in public Rossetti often stated that the poem was intended for children, and went on to write many children's poems. When the poem appeared in her first volume of poetry, Goblin Market and Other Poems, it was illustrated by her brother, the Pre-Raphaelite Brotherhood artist Dante Gabriel Rossetti.Goblin Market tells the adventures of two close sisters, Laura and Lizzie, with the river goblins.Although the sisters seem to be quite young, they live by themselves in a house, and draw water every evening from a stream. As the poem begins, the sisters hear the calls of the goblin merchants selling their fantastic fruits in the twilight. On this evening, Laura, intrigued by their strangeness, lingers at the stream after her sister goes home. (Rossetti hints that the ""goblin men"" resemble animals with faces like wombats or cats, and with tails.) Longing for the goblin fruits but having no money, the impulsive Laura offers to pay a lock of her hair and ""a tear more rare than pearl.""Laura gorges on the delicious fruit in a sort of bacchic frenzy. Once finished, she returns home in an ecstatic trance, carrying one of the seeds. At home, Laura tells her sister of the delights she indulged in, but Lizzie is ""full of wise upbraidings,"" reminding Laura of Jeanie, another girl who partook of the goblin fruits, and then died at the beginning of winter after a long and pathetic decline. Strangely, no grass grows over Jeanie's grave. Laura dismisses her sister's worries, and plans to return the next night to get more fruits for herself and Lizzie. The sisters go to sleep in their shared bed.The next day, as Laura and Lizzie go about their housework, Laura dreamily longs for the coming meeting with the goblins. That evening, however, as she listens at the stream, Laura discovers to her horror that, although her sister still hears the goblins' chants and cries, she cannot.Unable to buy more of the forbidden fruit, Laura sickens and pines for it. As winter approaches, she withers and ages unnaturally, too weak to do her chores. One day she remembers the saved seed and plants it, but nothing grows.Months pass, and Lizzie realises that Laura is wasting to death. Lizzie resolves to buy some of the goblin fruit for Laura. Carrying a silver penny, Lizzie goes down to the brook and is greeted warmly by the goblins, who invite her to dine. But when the merchants realise that she has no intent to eat the fruit, and only intends to pay in silver, they attack, trying to feed her their fruits by force. Lizzie is drenched with the juice and pulp, but consumes none of it.Lizzie escapes and runs home, but when the dying Laura eats the pulp and juice from her body, the taste repulses rather than satisfies her, and she undergoes a terrifying paroxysm.By morning, however, Laura is fully restored to health. The last stanza attests that both Laura and Lizzie live to tell their children of the evils of the goblins' fruits, and of the power of sisterly love.The poem has inspired disparate interpretations. James Antoniou wrote in his 2020 Canberra Times article that ""while the sheer lusciousness of the goblins' 'sugar-baited words' undercuts the moral [of restraint and sisterly love], the strange contradictions of the story itself repel any easy allegorical readings.""[2]Critics in the late 1970s viewed the poem as an expression of Rossetti's feminist and homosexual politics.[3] Some critics suggest the poem is about feminine sexuality and its relation to Victorian social mores. In addition to its clear allusions to Adam and Eve, forbidden fruit, and temptation, there is much in the poem that seems overtly sexual,[4] such as when Lizzie, going to buy fruit from the goblins, considers her dead friend Jeanie, ""Who should have been a bride; / But who for joys brides hope to have / Fell sick and died"", and lines like, ""She sucked their fruit globes fair or red""; and ""Lizzie uttered not a word;/ Would not open lip from lip/ Lest they should cram a mouthful in;/ But laughed in heart to feel the drip/ Of juice that syruped all her face,/ And lodged in dimples of her chin,/ And streaked her neck which quaked like curd.""The poem's attitude toward this temptation seems ambiguous, since the happy ending offers the possibility of redemption for Laura, while typical Victorian portrayals of the ""fallen woman"" ended in the fallen woman's death. Rossetti volunteered at Highgate Penitentiary for fallen women shortly after composing Goblin Market in the spring of 1859.[5]Some critics believe that some feminist interpretations of the work leave out an anti-semitic nature within the poem. The critic Cynthia Scheinberg believes the Goblins to be ""Hebraic"", anti-semitic and anti-Judaic characters that the tested Christian sisters Laura and Lizzie must face in order to transition into wholesome and complete young women.[6]Other critics focus not on gender but on the Victorian consciousness of a capitalist critique of the growing Victorian economic market, whether in relation to sisters' Lizzie and Laura's interaction with the market as gendered beings, the agricultural market, or in the rapid increase in advertising the ""Market"".[7] When Goblin Market was released in April 1859, most Victorians weren't able to purchase fresh fruit, a historical note of importance when reading the poem for Victorian agriculture and tone.[7]According to Antony Harrison of North Carolina State University, Jerome McGann reads the poem as a criticism of Victorian marriage markets and conveys ""the need for an alternative social order"". For Sandra Gilbert, the fruit represents Victorian women's exclusion from the world of art.[8] Other scholars – most notably Herbert Tucker – view the poem as a critique on the rise of advertising in pre-capitalist England, with the goblins utilising clever marketing tactics to seduce Laura. J. Hartman, among others, has pointed out the parallels between Laura's experience and the experience of drug addiction. Another interpretation has observed an image of Jesus Christ in Lizzie when she says: ""Eat me, drink me, love me.""[4] This is imagery used to identify Christ's sacrifice in communion services.The poem uses an irregular rhyme scheme, often using couplets or ABAB rhymes, but also repeating some rhymes many times in succession, or allowing long gaps between a word and its partner. The metre is also irregular, typically (though not always) keeping three or four stresses, in varying feet, per line. The lines below show the varied stress patterns, as well as an interior rhyme (grey/decay) picked up by the end-rhyme with ""away"". The initial line quoted here, ""bright"", rhymes with ""night"" a full seven lines earlier. But when the noon waxed bright Her hair grew thin and grey; She dwindled, as the fair full moon doth turn To swift decay, and burn Her fire away.A beautiful classic book! 9780575029255, 0575029250 #0821 pp. 48 illusts Elizabeth's Bookshops have been one of Australia's premier independent book dealers since 1973. Elizabeth's family-owned business operates four branches in Perth CBD, Fremantle (WA), and Newtown (NSW). All orders are dispatched within 24 hours from our Fremantle Warehouse. All items can be viewed at Elizabeth's Bookshop Warehouse, 23 Queen Victoria Street\, Fremantle WA. Hardcover in Dustjacket Near Fine, Victor Gollancz, 1980, 4, Random House of Canada, Limited. First edition-first printing. Hardcover. Very good/Very good. VGC,Chatto & Windus,2000.First edition-first printing(2 4 6 8 10 9 7 5 3 1).Blue hardback(silver lettering to the spine)with laminated Dj(small colour mark,crease and nicks on the laminated cover),both in VGC.Ex-Library book with stamp,pocket,sticker but in VGC.Illustrated with b/w photos.Nice and clean pages with two small ink marks and light shelf wear on the outer edges,a couple of small creases on the edges of the pages.Nice and clean book with light shelf wear.Price un-clipped.438pp including index.First edition. This is another paragraph Review : Augusta Leigh lived, in the words of the old Chinese curse, through interesting times. The daughter of one of the most scandalous affairs of the 18th century, Augusta herself married the horse-mad Lieutenant-Colonel George Leigh, equerry and companion of the Prince of Wales. Leigh gambled and cheated, falling from grace into poverty and taking his wife and seven children with him. But it is Augusta's subsequent love affair with her half-brother, Byron the poet, that constitutes the most remarkable adventure of her life. This incestuous passion is one of the most famous, or notorious, in literary history: it led to the collapse of Byron's marriage and his exile from England, and remains a scandal even to this day. Byron's wife, Annabella, was a mild-mannered intellectual woman with a taste for mathematics; but she was driven to distracted jealousy by her husband's incestuous liaison and declared of Augusta that there were moments when I could have plunged a dagger into her heart. It is all potent, hot-blooded stuff and the temptation to turn this gripping story into a lurid soap opera would be hard to resist. But the Bakewells do something much more compelling in this excellent biography; their restraint brings out the vividness and emotional complexity of the story better than any previous telling. Only occasionally does the prose become swayed by the passion of the subject--as when Byron and Augusta fall in love, drawn irresistibly closer by a physical attraction that became more electric as each day carried their discovery of one another a little further. Byron himself emerges from the narrative as immature and spoilt to a near-monstrous degree, although the Bakewells try to be understanding (of his psychological torture of his wife they admit that Byron appears no more than an overgrown schoolboy, and add but he was feeling hurt, angry and deeply unhappy and was determined to make someone suffer for it). Byron's wronged wife Annabella, and her lengthy campaign to blacken Augusta's reputation are also well handled, and Augusta herself emerges as a thoroughly compelling character: a deeply nice individual who firmly believed that there was no harm in anything that did not damage others. With a passionate romantic streak running through her warm and easy-going personality, she emerges from this biography as a grounded and likeable human being. --Adam Roberts n nProduct Description nThe first biography of Augusta Leigh for over thirty years, this fascinating account draws on a wealth of new material from archives all over the country. It sheds new light not only on this remarkable and courageous woman, but on Georgian and Regency society and the life of the Court., Random House of Canada, Limited, 3, Mississauga: Copp Clark Pitman Ltd., 1994. Previous Owner Markings (Underlining); Light Creasing on Front Cover; Front, Rear Covers, Spine Lightly Chipped; Edges Lightly Soiled. CONTENTS: Preface CHAPTER 1 NEWS: A MIRROR TO OURSELVES The Psychology of the Source; Defining News; The Ingredients of News; A Problem of "Narrowness"; The Violence Question; Pack Journalism and Stereotypes CHAPTER 2 CREATING IMAGES: JOURNALISM AND THE PSEUDO-ENVIRONMENT Ellul and the Idea of Propaganda; Innis and McLuhan; The Sociological Tradition; New Departures; Semiotics and the Language of News; Linguistics CHPATER 3 THE PRESS AND ITS FREEDOM: EVOLVING CONCEPTS A Growing Enlightenment; John Milton; John Locke; Fox's Libel Act; John Stuart Mill; The New Collectivity; Social Responsibility; The Five Tenets CHAPTER 4 THE QUALITY CONUNDRUM: TOWARD A FREE BUT ACCOUNTABLE JOURNALISM An Uncertain Philosophy; Historic Divisions; The Penny Press; Yellow Journalism; A Blending of Traditions; The Canadian Connection; The Canon of Objectivity; A Question of Ethics; Journalism and Professionalism; The Ombudsman; The Press Council CHAPTER 5 THE CONSUMING SYMBIOSIS: JOURNALISTS, POLITICIANS, AND OTHERS A Net for Large Fish; Living by Disclosure; An Intolerable Tradition?; A Proper Pipeline; Glibness and Superficiality; A Case Study: The Mohawk Crisis; "Lied to rather a lot . . . "; The Infocan Experience; A Moral Right of Media?; Other Institutions; Television's Impact; A Rapid-Fire Flow CHAPTER 6 SOCIAL CONTROL: BASIS IN LAW Prior Restraint; Contempt of Court; Libel and Defamation; Civil Defamation; Libel as a Crime; Obscenity and the Media; Questions of Hate; Emergencies and Official Secrets; The Constitution CHAPTER 7 REGULATION: THE CANADIAN WAY Periodicals; Taming the Airwaves; The CRTC and on to the 1990s; An "Air of Death"; Regulation and the Daily Press; LaMarsh, Infocan, and others; Black Wednesday; The Draft Legislation; A History of Concern CHAPTER 8 TOWARD TOMORROW: CHANGING PATTERNS A Subtle List; Journalism of the Stars; The Imperative to Entertain; A Struggle for Survival; Journalism and the Marketeers; Softer and Narrower News; At the Bottom Line APPENDIX Areopagitica; On Liberty; The Canadian Charter of Rights and Freedom; Code of Ethics of the American Society of Newspaper Editors; The Canadian Publishers' Code; Index. SYNOPSIS: Andrew M. Osler is an associate professor in the Graduate School of Journalism at the University of Western Ontario where he also holds a cross-appointment in the Department of Sociology. The book draws on Osler's long and varied experience as a working journalist to provide a unique, insightful exploration of the nature of journalism and its function in Canadian society. Here is a comprehensive overview of the patterns and influences that continue to define news.. First Edition 2nd Printing. Trade Paperback. Very Good. Illus. by Steve MacEachern/Smart Work. 8vo - over 7¾" - 9¾" tall., Copp Clark Pitman Ltd., 1994, 3, Brighton and Portland: Sussex Academic Press, 2011. First Edition. Cloth/Laminated Boards. New/No d/j as Published. 8vo - over 7¾" - 9¾" tall. Type: Book With the outbreak of the Palestinian Intifadat al-Aqsa in September 2000 that followed the failure of the Camp David II summit, the chain of belligerent events took Egypt by surprise. Facing a dilemma in its search for an appropriate policy towards the Palestinian-Israeli escalation, this study argues that Egypt's policy towards the second Intifada may best be understood by scrutinising several circles of reference that directly affected its policymaking process throughout the long years of the bloody Israeli-Palestinian conflict. These circles of reference comprise interests and calculations derived from Egyptian internal issues; regional factors - Egypt's role and position in the Arab world in general, and its relations with the Palestinians in particular; Egypt's relations with Israel; and its strategic ties with the United States. The growing strength and the expansion of the global Islamic terrorist network that challenges the stability of the present Arab regimes constitutes a lynchpin at every layer. Egypt's foreign policy is based on Realpolitik, that is, on pragmatic and material factors rather than on ideological or moral considerations. Safeguarding its national interests is Egypt's prime goal. In this regard, Egypt considers the peace with Israel as a strategic national asset. For Mubarak's regime, the abrogation of the peace treaty with Israel has never been an option, even during the worst days of the Intifada. Mubarak has shown exemplary restraint throughout the conflict. Despite occasional harsh anti-Israeli statements aimed mainly at easing internal and external pressures, Mubarak's regime can, on the whole, be seen as a responsible and stabilising factor vehemently striving to prevent regional escalation. This study is based primarily on Egyptian sources as well as interviews and conversations with senior members of the Al-Ahram Center for Strategic Studies. It also draws on other primary and secondary sources in Arabic, Hebrew and English. The book is essential reading for all scholars involved and engaged with the Israel-Arab conflict. 149pp., Sussex Academic Press, 2011, 6, Kansas City, MO: BkMk Press, 1991. Book. New. Cloth. First Edition. 8vo - over 7¾" - 9¾" tall. Kansas City, MO, BkMk Press, 1991. First edition. 8vo. Brown cloth with gilt lettering embossed on spine, tan endpapers, title page and contents page illustrated with anatomy drawings, 95 pp. This is a book of intelligence, restraint and elegance; a book of short stories by an actor-playwright of wit and language and should satisfy those who demand grace without sacrificing the grip of reality. New in new dust jacket, protected by a mylar cover.., BkMk Press, 1991, 6<

2020, ISBN: 9780933532779

Gebundene Ausgabe

Random House of Canada, Limited. First edition-first printing. Hardcover. Very good/Very good. VGC,Chatto & Windus,2000.First edition-first printing(2 4 6 8 10 9 7 5 3 1).Blue hardb… Mehr…

Random House of Canada, Limited. First edition-first printing. Hardcover. Very good/Very good. VGC,Chatto & Windus,2000.First edition-first printing(2 4 6 8 10 9 7 5 3 1).Blue hardback(silver lettering to the spine)with laminated Dj(small colour mark,crease and nicks on the laminated cover),both in VGC.Ex-Library book with stamp,pocket,sticker but in VGC.Illustrated with b/w photos.Nice and clean pages with two small ink marks and light shelf wear on the outer edges,a couple of small creases on the edges of the pages.Nice and clean book with light shelf wear.Price un-clipped.438pp including index.First edition. This is another paragraph Review : Augusta Leigh lived, in the words of the old Chinese curse, through interesting times. The daughter of one of the most scandalous affairs of the 18th century, Augusta herself married the horse-mad Lieutenant-Colonel George Leigh, equerry and companion of the Prince of Wales. Leigh gambled and cheated, falling from grace into poverty and taking his wife and seven children with him. But it is Augusta's subsequent love affair with her half-brother, Byron the poet, that constitutes the most remarkable adventure of her life. This incestuous passion is one of the most famous, or notorious, in literary history: it led to the collapse of Byron's marriage and his exile from England, and remains a scandal even to this day. Byron's wife, Annabella, was a mild-mannered intellectual woman with a taste for mathematics; but she was driven to distracted jealousy by her husband's incestuous liaison and declared of Augusta that there were moments when I could have plunged a dagger into her heart. It is all potent, hot-blooded stuff and the temptation to turn this gripping story into a lurid soap opera would be hard to resist. But the Bakewells do something much more compelling in this excellent biography; their restraint brings out the vividness and emotional complexity of the story better than any previous telling. Only occasionally does the prose become swayed by the passion of the subject--as when Byron and Augusta fall in love, drawn irresistibly closer by a physical attraction that became more electric as each day carried their discovery of one another a little further. Byron himself emerges from the narrative as immature and spoilt to a near-monstrous degree, although the Bakewells try to be understanding (of his psychological torture of his wife they admit that Byron appears no more than an overgrown schoolboy, and add but he was feeling hurt, angry and deeply unhappy and was determined to make someone suffer for it). Byron's wronged wife Annabella, and her lengthy campaign to blacken Augusta's reputation are also well handled, and Augusta herself emerges as a thoroughly compelling character: a deeply nice individual who firmly believed that there was no harm in anything that did not damage others. With a passionate romantic streak running through her warm and easy-going personality, she emerges from this biography as a grounded and likeable human being. --Adam Roberts n nProduct Description nThe first biography of Augusta Leigh for over thirty years, this fascinating account draws on a wealth of new material from archives all over the country. It sheds new light not only on this remarkable and courageous woman, but on Georgian and Regency society and the life of the Court., Random House of Canada, Limited, 3, Victor Gollancz, 1980. Hardcover in Dustjacket. Near Fine. Goblin Market (composed in April 1859 and published in 1862) is a narrative poem by Christina Rossetti. The poem tells the story of Laura and Lizzie who are tempted with fruit by goblin merchants.[1] In a letter to her publisher, Rossetti claimed that the poem, which is interpreted frequently as having features of remarkably sexual imagery, was not meant for children. However, in public Rossetti often stated that the poem was intended for children, and went on to write many children's poems. When the poem appeared in her first volume of poetry, Goblin Market and Other Poems, it was illustrated by her brother, the Pre-Raphaelite Brotherhood artist Dante Gabriel Rossetti.Goblin Market tells the adventures of two close sisters, Laura and Lizzie, with the river goblins.Although the sisters seem to be quite young, they live by themselves in a house, and draw water every evening from a stream. As the poem begins, the sisters hear the calls of the goblin merchants selling their fantastic fruits in the twilight. On this evening, Laura, intrigued by their strangeness, lingers at the stream after her sister goes home. (Rossetti hints that the ""goblin men"" resemble animals with faces like wombats or cats, and with tails.) Longing for the goblin fruits but having no money, the impulsive Laura offers to pay a lock of her hair and ""a tear more rare than pearl.""Laura gorges on the delicious fruit in a sort of bacchic frenzy. Once finished, she returns home in an ecstatic trance, carrying one of the seeds. At home, Laura tells her sister of the delights she indulged in, but Lizzie is ""full of wise upbraidings,"" reminding Laura of Jeanie, another girl who partook of the goblin fruits, and then died at the beginning of winter after a long and pathetic decline. Strangely, no grass grows over Jeanie's grave. Laura dismisses her sister's worries, and plans to return the next night to get more fruits for herself and Lizzie. The sisters go to sleep in their shared bed.The next day, as Laura and Lizzie go about their housework, Laura dreamily longs for the coming meeting with the goblins. That evening, however, as she listens at the stream, Laura discovers to her horror that, although her sister still hears the goblins' chants and cries, she cannot.Unable to buy more of the forbidden fruit, Laura sickens and pines for it. As winter approaches, she withers and ages unnaturally, too weak to do her chores. One day she remembers the saved seed and plants it, but nothing grows.Months pass, and Lizzie realises that Laura is wasting to death. Lizzie resolves to buy some of the goblin fruit for Laura. Carrying a silver penny, Lizzie goes down to the brook and is greeted warmly by the goblins, who invite her to dine. But when the merchants realise that she has no intent to eat the fruit, and only intends to pay in silver, they attack, trying to feed her their fruits by force. Lizzie is drenched with the juice and pulp, but consumes none of it.Lizzie escapes and runs home, but when the dying Laura eats the pulp and juice from her body, the taste repulses rather than satisfies her, and she undergoes a terrifying paroxysm.By morning, however, Laura is fully restored to health. The last stanza attests that both Laura and Lizzie live to tell their children of the evils of the goblins' fruits, and of the power of sisterly love.The poem has inspired disparate interpretations. James Antoniou wrote in his 2020 Canberra Times article that ""while the sheer lusciousness of the goblins' 'sugar-baited words' undercuts the moral [of restraint and sisterly love], the strange contradictions of the story itself repel any easy allegorical readings.""[2]Critics in the late 1970s viewed the poem as an expression of Rossetti's feminist and homosexual politics.[3] Some critics suggest the poem is about feminine sexuality and its relation to Victorian social mores. In addition to its clear allusions to Adam and Eve, forbidden fruit, and temptation, there is much in the poem that seems overtly sexual,[4] such as when Lizzie, going to buy fruit from the goblins, considers her dead friend Jeanie, ""Who should have been a bride; / But who for joys brides hope to have / Fell sick and died"", and lines like, ""She sucked their fruit globes fair or red""; and ""Lizzie uttered not a word;/ Would not open lip from lip/ Lest they should cram a mouthful in;/ But laughed in heart to feel the drip/ Of juice that syruped all her face,/ And lodged in dimples of her chin,/ And streaked her neck which quaked like curd.""The poem's attitude toward this temptation seems ambiguous, since the happy ending offers the possibility of redemption for Laura, while typical Victorian portrayals of the ""fallen woman"" ended in the fallen woman's death. Rossetti volunteered at Highgate Penitentiary for fallen women shortly after composing Goblin Market in the spring of 1859.[5]Some critics believe that some feminist interpretations of the work leave out an anti-semitic nature within the poem. The critic Cynthia Scheinberg believes the Goblins to be ""Hebraic"", anti-semitic and anti-Judaic characters that the tested Christian sisters Laura and Lizzie must face in order to transition into wholesome and complete young women.[6]Other critics focus not on gender but on the Victorian consciousness of a capitalist critique of the growing Victorian economic market, whether in relation to sisters' Lizzie and Laura's interaction with the market as gendered beings, the agricultural market, or in the rapid increase in advertising the ""Market"".[7] When Goblin Market was released in April 1859, most Victorians weren't able to purchase fresh fruit, a historical note of importance when reading the poem for Victorian agriculture and tone.[7]According to Antony Harrison of North Carolina State University, Jerome McGann reads the poem as a criticism of Victorian marriage markets and conveys ""the need for an alternative social order"". For Sandra Gilbert, the fruit represents Victorian women's exclusion from the world of art.[8] Other scholars – most notably Herbert Tucker – view the poem as a critique on the rise of advertising in pre-capitalist England, with the goblins utilising clever marketing tactics to seduce Laura. J. Hartman, among others, has pointed out the parallels between Laura's experience and the experience of drug addiction. Another interpretation has observed an image of Jesus Christ in Lizzie when she says: ""Eat me, drink me, love me.""[4] This is imagery used to identify Christ's sacrifice in communion services.The poem uses an irregular rhyme scheme, often using couplets or ABAB rhymes, but also repeating some rhymes many times in succession, or allowing long gaps between a word and its partner. The metre is also irregular, typically (though not always) keeping three or four stresses, in varying feet, per line. The lines below show the varied stress patterns, as well as an interior rhyme (grey/decay) picked up by the end-rhyme with ""away"". The initial line quoted here, ""bright"", rhymes with ""night"" a full seven lines earlier. But when the noon waxed bright Her hair grew thin and grey; She dwindled, as the fair full moon doth turn To swift decay, and burn Her fire away.A beautiful classic book! 9780575029255, 0575029250 #0821 pp. 48 illusts Elizabeth's Bookshops have been one of Australia's premier independent book dealers since 1973. Elizabeth's family-owned business operates four branches in Perth CBD, Fremantle (WA), and Newtown (NSW). All orders are dispatched within 24 hours from our Fremantle Warehouse. All items can be viewed at Elizabeth's Bookshop Warehouse, 23 Queen Victoria Street\, Fremantle WA. Hardcover in Dustjacket Near Fine, Victor Gollancz, 1980, 4, Mississauga: Copp Clark Pitman Ltd., 1994. Previous Owner Markings (Underlining); Light Creasing on Front Cover; Front, Rear Covers, Spine Lightly Chipped; Edges Lightly Soiled. CONTENTS: Preface CHAPTER 1 NEWS: A MIRROR TO OURSELVES The Psychology of the Source; Defining News; The Ingredients of News; A Problem of "Narrowness"; The Violence Question; Pack Journalism and Stereotypes CHAPTER 2 CREATING IMAGES: JOURNALISM AND THE PSEUDO-ENVIRONMENT Ellul and the Idea of Propaganda; Innis and McLuhan; The Sociological Tradition; New Departures; Semiotics and the Language of News; Linguistics CHPATER 3 THE PRESS AND ITS FREEDOM: EVOLVING CONCEPTS A Growing Enlightenment; John Milton; John Locke; Fox's Libel Act; John Stuart Mill; The New Collectivity; Social Responsibility; The Five Tenets CHAPTER 4 THE QUALITY CONUNDRUM: TOWARD A FREE BUT ACCOUNTABLE JOURNALISM An Uncertain Philosophy; Historic Divisions; The Penny Press; Yellow Journalism; A Blending of Traditions; The Canadian Connection; The Canon of Objectivity; A Question of Ethics; Journalism and Professionalism; The Ombudsman; The Press Council CHAPTER 5 THE CONSUMING SYMBIOSIS: JOURNALISTS, POLITICIANS, AND OTHERS A Net for Large Fish; Living by Disclosure; An Intolerable Tradition?; A Proper Pipeline; Glibness and Superficiality; A Case Study: The Mohawk Crisis; "Lied to rather a lot . . . "; The Infocan Experience; A Moral Right of Media?; Other Institutions; Television's Impact; A Rapid-Fire Flow CHAPTER 6 SOCIAL CONTROL: BASIS IN LAW Prior Restraint; Contempt of Court; Libel and Defamation; Civil Defamation; Libel as a Crime; Obscenity and the Media; Questions of Hate; Emergencies and Official Secrets; The Constitution CHAPTER 7 REGULATION: THE CANADIAN WAY Periodicals; Taming the Airwaves; The CRTC and on to the 1990s; An "Air of Death"; Regulation and the Daily Press; LaMarsh, Infocan, and others; Black Wednesday; The Draft Legislation; A History of Concern CHAPTER 8 TOWARD TOMORROW: CHANGING PATTERNS A Subtle List; Journalism of the Stars; The Imperative to Entertain; A Struggle for Survival; Journalism and the Marketeers; Softer and Narrower News; At the Bottom Line APPENDIX Areopagitica; On Liberty; The Canadian Charter of Rights and Freedom; Code of Ethics of the American Society of Newspaper Editors; The Canadian Publishers' Code; Index. SYNOPSIS: Andrew M. Osler is an associate professor in the Graduate School of Journalism at the University of Western Ontario where he also holds a cross-appointment in the Department of Sociology. The book draws on Osler's long and varied experience as a working journalist to provide a unique, insightful exploration of the nature of journalism and its function in Canadian society. Here is a comprehensive overview of the patterns and influences that continue to define news.. First Edition 2nd Printing. Trade Paperback. Very Good. Illus. by Steve MacEachern/Smart Work. 8vo - over 7¾" - 9¾" tall., Copp Clark Pitman Ltd., 1994, 3, Kansas City, MO: BkMk Press, 1991. Book. New. Cloth. First Edition. 8vo - over 7¾" - 9¾" tall. Kansas City, MO, BkMk Press, 1991. First edition. 8vo. Brown cloth with gilt lettering embossed on spine, tan endpapers, title page and contents page illustrated with anatomy drawings, 95 pp. This is a book of intelligence, restraint and elegance; a book of short stories by an actor-playwright of wit and language and should satisfy those who demand grace without sacrificing the grip of reality. New in new dust jacket, protected by a mylar cover.., BkMk Press, 1991, 6<

2020, ISBN: 9780933532779

Random House of Canada, Limited. First edition-first printing. Hardcover. Very good/Very good. VGC,Chatto & Windus,2000.First edition-first printing(2 4 6 8 10 9 7 5 3 1).Blue hardb… Mehr…

Random House of Canada, Limited. First edition-first printing. Hardcover. Very good/Very good. VGC,Chatto & Windus,2000.First edition-first printing(2 4 6 8 10 9 7 5 3 1).Blue hardback(silver lettering to the spine)with laminated Dj(small colour mark,crease and nicks on the laminated cover),both in VGC.Ex-Library book with stamp,pocket,sticker but in VGC.Illustrated with b/w photos.Nice and clean pages with two small ink marks and light shelf wear on the outer edges,a couple of small creases on the edges of the pages.Nice and clean book with light shelf wear.Price un-clipped.438pp including index.First edition. This is another paragraph Review : Augusta Leigh lived, in the words of the old Chinese curse, through interesting times. The daughter of one of the most scandalous affairs of the 18th century, Augusta herself married the horse-mad Lieutenant-Colonel George Leigh, equerry and companion of the Prince of Wales. Leigh gambled and cheated, falling from grace into poverty and taking his wife and seven children with him. But it is Augusta's subsequent love affair with her half-brother, Byron the poet, that constitutes the most remarkable adventure of her life. This incestuous passion is one of the most famous, or notorious, in literary history: it led to the collapse of Byron's marriage and his exile from England, and remains a scandal even to this day. Byron's wife, Annabella, was a mild-mannered intellectual woman with a taste for mathematics; but she was driven to distracted jealousy by her husband's incestuous liaison and declared of Augusta that there were moments when I could have plunged a dagger into her heart. It is all potent, hot-blooded stuff and the temptation to turn this gripping story into a lurid soap opera would be hard to resist. But the Bakewells do something much more compelling in this excellent biography; their restraint brings out the vividness and emotional complexity of the story better than any previous telling. Only occasionally does the prose become swayed by the passion of the subject--as when Byron and Augusta fall in love, drawn irresistibly closer by a physical attraction that became more electric as each day carried their discovery of one another a little further. Byron himself emerges from the narrative as immature and spoilt to a near-monstrous degree, although the Bakewells try to be understanding (of his psychological torture of his wife they admit that Byron appears no more than an overgrown schoolboy, and add but he was feeling hurt, angry and deeply unhappy and was determined to make someone suffer for it). Byron's wronged wife Annabella, and her lengthy campaign to blacken Augusta's reputation are also well handled, and Augusta herself emerges as a thoroughly compelling character: a deeply nice individual who firmly believed that there was no harm in anything that did not damage others. With a passionate romantic streak running through her warm and easy-going personality, she emerges from this biography as a grounded and likeable human being. --Adam Roberts n nProduct Description nThe first biography of Augusta Leigh for over thirty years, this fascinating account draws on a wealth of new material from archives all over the country. It sheds new light not only on this remarkable and courageous woman, but on Georgian and Regency society and the life of the Court., Random House of Canada, Limited, 3, Victor Gollancz, 1980. Hardcover in Dustjacket. Near Fine. Goblin Market (composed in April 1859 and published in 1862) is a narrative poem by Christina Rossetti. The poem tells the story of Laura and Lizzie who are tempted with fruit by goblin merchants.[1] In a letter to her publisher, Rossetti claimed that the poem, which is interpreted frequently as having features of remarkably sexual imagery, was not meant for children. However, in public Rossetti often stated that the poem was intended for children, and went on to write many children's poems. When the poem appeared in her first volume of poetry, Goblin Market and Other Poems, it was illustrated by her brother, the Pre-Raphaelite Brotherhood artist Dante Gabriel Rossetti.Goblin Market tells the adventures of two close sisters, Laura and Lizzie, with the river goblins.Although the sisters seem to be quite young, they live by themselves in a house, and draw water every evening from a stream. As the poem begins, the sisters hear the calls of the goblin merchants selling their fantastic fruits in the twilight. On this evening, Laura, intrigued by their strangeness, lingers at the stream after her sister goes home. (Rossetti hints that the ""goblin men"" resemble animals with faces like wombats or cats, and with tails.) Longing for the goblin fruits but having no money, the impulsive Laura offers to pay a lock of her hair and ""a tear more rare than pearl.""Laura gorges on the delicious fruit in a sort of bacchic frenzy. Once finished, she returns home in an ecstatic trance, carrying one of the seeds. At home, Laura tells her sister of the delights she indulged in, but Lizzie is ""full of wise upbraidings,"" reminding Laura of Jeanie, another girl who partook of the goblin fruits, and then died at the beginning of winter after a long and pathetic decline. Strangely, no grass grows over Jeanie's grave. Laura dismisses her sister's worries, and plans to return the next night to get more fruits for herself and Lizzie. The sisters go to sleep in their shared bed.The next day, as Laura and Lizzie go about their housework, Laura dreamily longs for the coming meeting with the goblins. That evening, however, as she listens at the stream, Laura discovers to her horror that, although her sister still hears the goblins' chants and cries, she cannot.Unable to buy more of the forbidden fruit, Laura sickens and pines for it. As winter approaches, she withers and ages unnaturally, too weak to do her chores. One day she remembers the saved seed and plants it, but nothing grows.Months pass, and Lizzie realises that Laura is wasting to death. Lizzie resolves to buy some of the goblin fruit for Laura. Carrying a silver penny, Lizzie goes down to the brook and is greeted warmly by the goblins, who invite her to dine. But when the merchants realise that she has no intent to eat the fruit, and only intends to pay in silver, they attack, trying to feed her their fruits by force. Lizzie is drenched with the juice and pulp, but consumes none of it.Lizzie escapes and runs home, but when the dying Laura eats the pulp and juice from her body, the taste repulses rather than satisfies her, and she undergoes a terrifying paroxysm.By morning, however, Laura is fully restored to health. The last stanza attests that both Laura and Lizzie live to tell their children of the evils of the goblins' fruits, and of the power of sisterly love.The poem has inspired disparate interpretations. James Antoniou wrote in his 2020 Canberra Times article that ""while the sheer lusciousness of the goblins' 'sugar-baited words' undercuts the moral [of restraint and sisterly love], the strange contradictions of the story itself repel any easy allegorical readings.""[2]Critics in the late 1970s viewed the poem as an expression of Rossetti's feminist and homosexual politics.[3] Some critics suggest the poem is about feminine sexuality and its relation to Victorian social mores. In addition to its clear allusions to Adam and Eve, forbidden fruit, and temptation, there is much in the poem that seems overtly sexual,[4] such as when Lizzie, going to buy fruit from the goblins, considers her dead friend Jeanie, ""Who should have been a bride; / But who for joys brides hope to have / Fell sick and died"", and lines like, ""She sucked their fruit globes fair or red""; and ""Lizzie uttered not a word;/ Would not open lip from lip/ Lest they should cram a mouthful in;/ But laughed in heart to feel the drip/ Of juice that syruped all her face,/ And lodged in dimples of her chin,/ And streaked her neck which quaked like curd.""The poem's attitude toward this temptation seems ambiguous, since the happy ending offers the possibility of redemption for Laura, while typical Victorian portrayals of the ""fallen woman"" ended in the fallen woman's death. Rossetti volunteered at Highgate Penitentiary for fallen women shortly after composing Goblin Market in the spring of 1859.[5]Some critics believe that some feminist interpretations of the work leave out an anti-semitic nature within the poem. The critic Cynthia Scheinberg believes the Goblins to be ""Hebraic"", anti-semitic and anti-Judaic characters that the tested Christian sisters Laura and Lizzie must face in order to transition into wholesome and complete young women.[6]Other critics focus not on gender but on the Victorian consciousness of a capitalist critique of the growing Victorian economic market, whether in relation to sisters' Lizzie and Laura's interaction with the market as gendered beings, the agricultural market, or in the rapid increase in advertising the ""Market"".[7] When Goblin Market was released in April 1859, most Victorians weren't able to purchase fresh fruit, a historical note of importance when reading the poem for Victorian agriculture and tone.[7]According to Antony Harrison of North Carolina State University, Jerome McGann reads the poem as a criticism of Victorian marriage markets and conveys ""the need for an alternative social order"". For Sandra Gilbert, the fruit represents Victorian women's exclusion from the world of art.[8] Other scholars – most notably Herbert Tucker – view the poem as a critique on the rise of advertising in pre-capitalist England, with the goblins utilising clever marketing tactics to seduce Laura. J. Hartman, among others, has pointed out the parallels between Laura's experience and the experience of drug addiction. Another interpretation has observed an image of Jesus Christ in Lizzie when she says: ""Eat me, drink me, love me.""[4] This is imagery used to identify Christ's sacrifice in communion services.The poem uses an irregular rhyme scheme, often using couplets or ABAB rhymes, but also repeating some rhymes many times in succession, or allowing long gaps between a word and its partner. The metre is also irregular, typically (though not always) keeping three or four stresses, in varying feet, per line. The lines below show the varied stress patterns, as well as an interior rhyme (grey/decay) picked up by the end-rhyme with ""away"". The initial line quoted here, ""bright"", rhymes with ""night"" a full seven lines earlier. But when the noon waxed bright Her hair grew thin and grey; She dwindled, as the fair full moon doth turn To swift decay, and burn Her fire away.A beautiful classic book! 9780575029255, 0575029250 #0821 pp. 48 illusts Elizabeth's Bookshops have been one of Australia's premier independent book dealers since 1973. Elizabeth's family-owned business operates four branches in Perth CBD, Fremantle (WA), and Newtown (NSW). All orders are dispatched within 24 hours from our Fremantle Warehouse. All items can be viewed at Elizabeth's Bookshop Warehouse, 23 Queen Victoria Street\, Fremantle WA. Hardcover in Dustjacket Near Fine, Victor Gollancz, 1980, 4, Kansas City, MO: BkMk Press, 1991. Book. New. Cloth. First Edition. 8vo - over 7¾" - 9¾" tall. Kansas City, MO, BkMk Press, 1991. First edition. 8vo. Brown cloth with gilt lettering embossed on spine, tan endpapers, title page and contents page illustrated with anatomy drawings, 95 pp. This is a book of intelligence, restraint and elegance; a book of short stories by an actor-playwright of wit and language and should satisfy those who demand grace without sacrificing the grip of reality. New in new dust jacket, protected by a mylar cover.., BkMk Press, 1991, 6<

ISBN: 9780933532779

Kansas City, MO: BkMk Press, 1991. Book. New. Cloth. First Edition. 8vo - over 7¾" - 9¾" tall. Kansas City, MO, BkMk Press, 1991. First edition. 8vo. Brown cloth w… Mehr…

Kansas City, MO: BkMk Press, 1991. Book. New. Cloth. First Edition. 8vo - over 7¾" - 9¾" tall. Kansas City, MO, BkMk Press, 1991. First edition. 8vo. Brown cloth with gilt lettering embossed on spine, tan endpapers, title page and contents page illustrated with anatomy drawings, 95 pp. This is a book of intelligence, restraint and elegance; a book of short stories by an actor-playwright of wit and language and should satisfy those who demand grace without sacrificing the grip of reality. New in new dust jacket, protected by a mylar cover.., BkMk Press, 1991, 6<