"This Norton Critical Edition of the anonymously written fourteenth-century Arthurian romance Sir Gawain and the Green Knight is derived from a verse translation by Marie Borroff, first translated in 1967. The poem follows Gawain, a knight of King Arthur's court, as his honor is tested by the Green Knight. After succeeding in beheading the Green Knight, who survives the ordeal, Gawain must uphold his end of the bargain and, after a year's time, meet with the Green Knight again so that the knight may return the grim favor and behead Gawain. The "Contexts" in this Critical Edition provide readers with selections of the poem in its original Middle English, as well as other Arthurian stories that may have influenced the anonymous Gawain-poet. "Criticism" includes a selection of essays on themes ranging from the poem's descriptive techniques, to its use of time and gender. A chronology and selected bibliography are also included"--

The Faerie Queene is a scholarly masterpiece that has influenced, inspired, and challenged generations of writers, readers and scholars since its completion in 1596. Hamilton's edition is itself, a masterpiece of scholarship and close reading. It is now the standard edition for all readers of Spenser. The entire work is revised, and the text of The Faerie Queene itself has been freshly edited, the first such edition since the 1930s. This volume also contains additional original material, including a letter to Raleigh, commendatory verses and dedicatory sonnets, chronology of Spenser's life and works and provides a compilation of list of characters and their appearances in The Faerie Queene.

Despite all of his acknowledged greatness, almost no one reads Edmund Spenser (1552-99) anymore. Roy Maynard takes the first book of the 'Faerie Queene, ' exploring the concept of Holiness with the character of the Redcross Knight, and makes Spenser accessible again. He does this not by dumbing it down, but by deftly modernizing the spelling, explaining the obscurities in clever asides, and cuing the reader towards the right response. In today's cultural, aesthetic, and educational wars, Spenser is a mighty ally for twenty-first century Christians. Maynard proves himself a worthy mediator between Spenser's time and ours. (Gene Edward Veith)

Anthology of a selection of early modern works on memory.

In the first ever book-length manifesto of Peak Oil Philosophy, Chad Haag argues that the transition to Fossil Fuel Modernity replaced the herds of megafauna of the Hunter Gatherer Worldview and the cyclically-harvested grain of the Agrarian Worldview with a single immensely powerful but quickly vanishing substance: oil. Everything we do is a euphemism for burning vast amounts of fossil fuels. Haag provides an original hierarchy of transcendental standards of meaning to reveal the extent to which our mythologies, systems, counter sense objects, and deep memes are just so many incomplete revelations of our Phenomenological awareness of petroleum. But as the globe already hit Peak Oil in 2005 and has been on the downward slope of depletion ever since, these higher order meanings have begun to collapse into falsity. Oil's peculiar role in sustaining systems of meaning precisely through imposing a hard physical limit to existence therefore requires a novel Ontology of Limitation. Haag reawakens the Heideggerian quest for Being by suggesting that even the subject itself must be understood as a limitation sustained through the limitation of, in our era, fossil fuels. Haag introduces a new table of 15 modes of truth to explicate how Peak Oil defies a simple binary of truth and falsity, given that even truth under Fossil Fuels is just a euphemism for oil's presence. Combining the Peak Oil insights of John Michael Greer and the anti-technological theories of Ted Kaczynski with the philosophical rigor of Heidegger, Aristotle, Zizek, Plato, Husserl, Descartes, and Jordan Peterson, Haag crafts a truly unique response to the challenge of joining Peak Oil and Philosophy.

Edmund Spenser's tomb at Westminster Abbey has the inscription, the Prince of Poets. If you've read Books I and II of his unfinished English epic, The Faerie Queene, you know why by now. Book III is one of the most unique books, written from the perspective of the heroic Britomart, a warrior princess in search of her true love. Along the way she encounters wizards, monsters, braggarts, sea gods, cheats, and at the end, a deathly palace.

Professor Alpers argues that Spenser's purpose in The Faerie Queene was not to create a fictional world or to imitate action, but to create and manipulate the reader’s response. Individual episodes in the poem are considered by the author as developing psychological experience within the reader rather than as actions to be observed. Part I is an examination of the technical poetic devices Spenser used to develop the reader’s response to the action of the poem. Part II concerns interpretation, iconography, and source material. Part III draws on the arguments and conclusions of the first two parts to discuss, in a general way, the nature of Spenser’s poetry, including Spenserian allegory. Originally published in 1967. 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.