This book traces D. H. Lawrence's devel­opment as a poet from his earliest to his latest poems. Focusing on the revision of poems in the Collected Poems, 1928, Mandell uncovers the implicit auto­biographical narrative that underlies the collection and that dictates its structure. Lawrence rearranged and rewrote the poems to conform to a chronologic, thematic, and mythic plan, a plan he hints at in the unpublished Foreword to Collected Poems. In its final form, the poetry tells the story of Lawrence's "demon," a figure of his essential self, by recounting the chronological development of the "new" from the "old" self. Comparing form and content of ver­sions of representative poems from the collection, Mandell analyzes the evalu­ation not only of Lawrence's poetic style but also of his ideas concerning human and physical nature. She contends that Lawrence was a mature poet with a de­veloped system of poetic and philosophi­cal thought by 1917, when he published Look! We Have Come Through! At that time he rewrote extensively. Through comparison of selected poems, several of which appear in print for the first time, we can reproduce Lawrence's emen­dations and thus depict the creative mind at work.

Taking advantage of contradictory elements in oneself and one's situation can lead to better performance all around. In this guide, the authors present a five-step process for using paradoxes to find solutions to a wide range of problems. Includes case studies showing how real people have used paradoxical thinking to solve real problems.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1962.

New heroes arise to battle the ever changing landscape. Lady Carmen Armenta and Lord Andres Jaimes with her brothers Jerry and Isreal unwillingly embark on an adventure to save time itself. As the first round of the tournament comes to an end, time begins to correct itself with the revelation of the Final One Hundredgood versus evil! Shawneita realizes that she has an important task to save whats left of her family. What will happen when time and existence collide?

Paradoxia Epidemica is a broad-ranging critical study of Renaissance thought, showing how the greatest writers of the period from Erasmus and Rabelais to Donne, Milton, and Shakespeare made conscious use of paradox not only as a figure of speech but as a mode of thought, a way of perceiving the universe, God, nature, and man himself. The book consists of an introduction (historical and topological) and sixteen chapters grouped according to broad types of paradox: rhetorical, theological, ontological, epistemological. Within this framework the author interprets individual writings or art forms as parts of a rich tradition. Originally published in 1966. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Why do reasonable people lead their nations into the tremendously destructive traps of international conflict? Why do nations then deepen their involvement and make it harder to escape from these traps? In Paradoxes of War, originally published in 1990, Zeev Maoz addresses these and other paradoxical questions about the war process. Using a unique approach to the study of war, he demonstrates that wars may often break out because states wish to prevent them, and continue despite the desperate efforts of the combatants to end them. Paradoxes of War is organized around the various stages of war. The first part discusses the causes of war, the second the management of war, and the third the short- and long-term implications of war. In each chapter Maoz explores a different paradox as a contradiction between reasonable expectations and the outcomes of motivated behaviour based on those expectations. He documents these paradoxes in twentieth century wars, including the Korean War, the Six Day War, and the Vietnam War. Maoz then invokes cognitive and rational choice theories to explain why these paradoxes arise. Paradoxes of War is essential reading for students and scholars of international politics, war and peace studies, international relations theory, and political science in general.

THE PHOENIX PARADOX Having narrowly missed getting a Democrat into the White House in 2004, the mainstream media continue their attacks against the Republicans. To insure that the next president is a Democrat, a diverse group of media owners form a secret organization through which they plan to place their own candidate in the Oval Office. The Phoenix Group's agenda is jeopardized when The New York Bugle's owner, a Democratic supporter, dies suddenly. His son, Parker H. Rolle, inherits the Bugle and discovers what it has been, a stooge of the Democrats. Parker Rolle balks at the paper's stance and sets out to change it, resulting in violent repercussions and serious problems for the Phoenix Group and its plan to rule the United States through a puppet president.

In this issue of The Shakespearean International Yearbook, the special section surveys various means of 'Updating Shakespeare'. The section treats a variety of attempts and strategies, including by artists in Japan, China and Brazil, to adapt Shakespeare's works into local and present circumstances. The guest editor for the section is Tetsuo Kishi, Professor Emeritus in English at the University of Kyoto, co-author of Shakespeare in Japan (2006). The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. Contributors to this issue come from the US and the UK, Poland, Japan and Brazil. In addition to the section on 'Updating', essays in this volume treat Shakespeare's poems, his narrative strategies, his relation to ideas such as tolerance and representation, and the afterlives of his work in writers such as Gay, Slowacki and Becket, and in theatrical relics.

OXFORD SHAKESPEARE TOPICS General Editors: Peter Holland and Stanley Wells Oxford Shakespeare Topics provide students and teachers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. How is it that the British literary critic Terry Eagleton can say that 'it is difficult to read Shakespeare without feeling that he was almost certainly familiar with the writings of Hegel, Marx, Nietzsche, Freud, Wittgenstein and Derrida', or that the Slovenian psychoanalytic theorist Slavoj Žižek can observe that 'Shakespeare without doubt had read Lacan'? Shakespeare and Literary Theory argues that literary theory is less an external set of ideas anachronistically imposed on Shakespeare's texts than a mode - or several modes - of critical reflection inspired by, and emerging from, his writing. These modes together constitute what we might call 'Shakespearian theory': theory that is not just about Shakespeare but also derives its energy from Shakespeare. To name just a few examples: Karl Marx was an avid reader of Shakespeare and used Timon of Athens to illustrate aspects of his economic theory; psychoanalytic theorists from Sigmund Freud to Jacques Lacan have explained some of their most axiomatic positions with reference to Hamlet; Michel Foucault's early theoretical writing on dreams and madness returns repeatedly to Macbeth; Jacques Derrida's deconstructive philosophy is articulated in dialogue with Shakespeare's plays, including Romeo and Juliet; French feminism's best-known essay is Hélène Cixous's meditation on Antony and Cleopatra; certain strands of queer theory derive their impetus from Eve Kosofsky Sedgwick's reading of the Sonnets; Gilles Deleuze alights on Richard III as an exemplary instance of his theory of the war machine; and postcolonial theory owes a large debt to Aimé Césaire's revision of The Tempest. By reading what theoretical movements from formalism and structuralism to cultural materialism and actor-network theory have had to say about and in concert with Shakespeare, we can begin to get a sense of how much the DNA of contemporary literary theory contains a startling abundance of chromosomes - concepts, preoccupations, ways of using language - that are of Shakespearian provenance.