Bøger af John Talbot

This book is the first collection of essays dedicated to the work of C. H. Sisson (1915-2003), a major English poet, critic and translator. The collection aims to offer an overall guide to his work for new readers, while also encouraging established readers of one aspect (such as his well-known classical translations) to explore others. It champions in particular the quality of his original poetry. The book brings together contributions from scholars and critics working in a wide range of fields, including classical reception, translation studies and early modern literature as well as modern English poetry, and concludes with a more personal essay on Sisson¿s work by Michael Schmidt, his publisher.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

This book reveals how a remarkable ancient Greek and Latin poetic form -- the alcaic metre -- found its way into English poetry, and continues shaping the imagination of poets today. English poets have always admired the extraordinary beauty and intricacy of the alcaic stanza (Tennyson called it 'the grandest of all measures') and their inventive responses to the ancient alcaic have generated remarkable innovations in the rhythms, sounds and shapes of modern poetry. This is the first book-length study of this neglected strand of English literary history and classical reception. Attending closely to the rhythm and texture of their verses, John Talbot reveals surprising connections between English poets across five centuries, among them Mary Shelley, Milton, Marvell, Tennyson, Edward FitzGerald, Wilfred Owen, W. H. Auden and Donald Hall. He gives special attention to a flourishing of English alcaics during the late twentieth and twenty-first centuries, and what it suggests about the changing place of classics and poetic form in contemporary culture.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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The Late Iron Age coinage of England has long been recognized as an invaluable potential source of information about pre-Roman Britain, although its purpose has been much debated and never clearly established. Most research using this source material has been either detailed numismatic studies, which seek to categorize and tabulate the types of coin and order them chronologically based on stylistic change, or more general attempts to draw out meaning from the imagery or inscriptions on the coins. In Made for Trade, John Talbot presents the findings of a decade-long investigation that has challenged many preconceptions about the period. The coinage of the Icenian East Anglia was used as the raw material with a view to establishing its original purpose and what it can tell us about society and the use of coinage in the Late Iron Age of this region. A die-study was performed on every known example – over 10,000 – coins. Each coin was created by a metal pellet being struck by two dies, and the die-study sought to identify the dies used in each of the 20,000 strikes. Because dies wear, change and are replaced, this enabled definitive chronologies to be constructed and the underlying organization of the coinage to be fully appreciated for the first time. It is believed to be one of the largest such studies ever attempted and the first of this scale for British Iron Age coinage. Talbot further explores production, weight and metal content as the coinage evolved, the use of imagery and inscriptions, and patterns of hoarding. These various threads demonstrate that the coinage was economic in nature and reflected development of a more sophisticated monetary society than had previously been thought possible, contradicting many previous assumptions.

This year book offers abstracts of the articles that reported the year's breakthrough developments in psychiatry and mental health, carefully selected from more than 500 journals worldwide. Expert commentaries evaluate the clinical importance of each article and discuss its application to your practice.

Provides the basis for measuring and analysing the cost and value associated with training. This title looks both at manual skills and management training analysis to explore the various approaches for costing training, controlling those costs and applying value analyses to the investment that is being made.

The Jets series is designed for children who are starting to read independently. Jessie Banks is the only person concerned about her family's haunted tiolet, until she tells her story on national radio.