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Books on the topic 'Prose forms in the 18c'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Donahue, Neil H. Forms of disruption: Abstraction in modern German prose. Ann Arbor: University of Michigan Press, 1993.

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2

Donahue, Neil H. Forms of disruption: Abstraction in modern German prose. Ann Arbor: University of Michigan Press, 1993.

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3

Shulman, Ahouva. The use of modal verb forms in biblical hebrew prose. Toronto: University of Toronto, 1996.

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4

New subjectivity and prose forms of alienation: Peter Handke and Botho Strauss. New York: P. Lang, 1987.

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5

The development from case-forms to prepositional constructions in old English prose. Bern: Peter Lang, 2009.

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6

Anglo-Irish autobiography: Class, gender, and the forms of narrative. Syracuse, N.Y: Syracuse University Press, 2004.

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7

Various forms of savagery: Identitäts- und Alteritätskonstruktionen in Reiseberichten viktorianischer Frauen zu Süd- und Westafrika. Frankfurt: Peter Lang, 2003.

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8

Narrating the American West: New forms of historical memory. Youngstown, N.Y: Cambria Press, 2008.

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9

Turned to account: The forms and functions of criminal biography in late seventeenth- and early eighteenth-century England. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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10

Telling true tales of Islamic lands: Forms of mediation in English travel writing, 1575-1630. Selinsgrove [Pa.]: Susquehanna University Press, 2011.

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11

Faller, Lincoln B. Turned to account: The forms and functions of criminal biography in the late seventeenth and early eighteenth-century England. Cambridge: Cambridge University Press, 1987.

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12

The creation of the self in autobiographical forms of writing in seventeenth-century England: Subjectivity and self-fashioning in memoirs, diaries, and letters. Heidelberg: C. Winter, 2001.

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13

Los Días pasan y las formas regresan: Fotografía, poesía y ensayo en torno a la obra de Harry Abend = Days pass, forms return: photography, poetry and prose on the work of Harry Abend. Place of publication not identified]: bid y co.editor, 2013.

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14

Robert, King, ed. King's tales. London: Batsford, 1994.

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15

Kippenberger. Martin Kippenberger: Vergessene Einrichtungsprobleme in der Villa Hügel (Villa Merkel), forgotten interior design, problems at home. Ostfildern-Ruit: Catz, 1996.

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16

Kippenberger. Martin Kippenberger: Multiples, Werkverzeichnis = catalogue raisonné. Köln: König, 2003.

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17

Kippenberger. Martin Kippenberger. San Francisco, Calif: San Francisco Museum of Modern Art, 1991.

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18

Ann, Goldstein, Diederichsen Diedrich, Koether Jutta, and Museum of Contemporary Art (Los Angeles, Calif.), eds. Martin Kippenberger: The problem perspective. Los Angeles: Museum of Contemporary Art, 2009.

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19

1941-, Noever Peter, MAK-Center for Art and Architecture, Los Angeles., and Österreichisches Museum für Angewandte Kunst., eds. Martin Kippenberger: The last stop west. Ostfildern-Ruit, Germany: Cantz Verlag, 1998.

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20

Kippenberger. Martin Kippenberger: Der Eiermann und seine Ausleger. [Mönchengladbach]: Städtisches Museum Abteiberg Mönchengladbach, 1997.

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21

1940-, Adriani Götz, Melcher Ralph, and Museum für Neue Kunst (Karlsruhe, Germany), eds. Martin Kippenberger: Das 2. Sein. Köln: Dumont, 2003.

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22

Kippenberger. Martin Kippenberger. London: Tate Pub., 2006.

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23

Basel, Kunsthalle, and Deichtorhallen Hamburg, eds. Martin Kippenberger. Basel: Schwabe, 1998.

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24

Fleming, Sibley. Celestine Sibley: A granddaughter's reminiscence. Athens, Ga: Hill Street Press, 1999.

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25

Kippenberger. Martin Kippenberger: [exposition], Galerie Max Hetzler, Cologne, 17 novembre-23 décembre 1989 : Galerie carrée, Villa Arson, Nice, 2-25 février 1990 : Galerie Luhring Augustine Hetzler, Santa Monica, 2 mars-7 avril 1990 : Metro Pictures, New York, 10 mars-7 avril 1990. Nice: Villa Arson, 1990.

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26

Kippenberger. Martin Kippenberger: Die gesamten Plakate, 1977-1997. Zürich: Offizin Verlag, 1998.

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27

Kippenberger. Martin Kippenberger: Arbeiten mit Papier 1983/85 = Works with paper 1983/85 : Galerie Klein, Bonn, Ausstellung 13. Dezember 1985-17. Januar 1986 und Oldenburger Kunstverein, Ausstellung 26.1.1986-28.2.1986. Bonn: Die Galerie, 1986.

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28

Kippenberger. Martin Kippenberger: The happy end of Franz Kafka's 'America' [job interviews] 27.2-24.4.1994. Rotterdam: Museum Boymans-van Beuningen, 1994.

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29

Harwayne, Shelley. Messages to Ground Zero: Children respond to September 11, 2001. Portsmouth, NH: Heinemann, 2002.

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30

Kippenberger. Martin Kippenberger: The happy end of Franz Kafka's "Amerika" : Deichtorhallen Hamburg, 12. Februar bis 25. April 1999. Köln: Oktagon, 1999.

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31

Kippenberger. Martin Kippenberger: Old Vienna posters. Graz: Grazer Kunstverein, 1992.

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32

Kippenberger. Martin Kippenberger: Schattenspiel im Zweigwerk : die Zeichnungen. Köln: DuMont, 2003.

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33

Kippenberger. Martin Kippenberger: Ten years after. Köln: Taschen, 1991.

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34

Brian, Kellow, and Krisak John, eds. Prose: Short forms. Scarborough, Ont: Prentice-Hall Canada, 1990.

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35

KELLOW and KRISAK. Prose: Short Forms. Pearson Education Imports: Depositories, 1991.

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36

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Forms of prose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0025.

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This chapter charts the growing appreciation among writers and readers of prose fiction—the genre not valued by the educated eighteenth-century reader. It explores the emergence and growing popularity of historical prose, the romantic tale, and the society tale. The chapter pays particular attention to the ongoing delay in the rise of the novel. It considers the formal and thematic dimensions of the novel, treating questions of aesthetics and movements such as techniques of mimesis, the relation of realism to the movement known as Realism, and the novel’s close attention to social class and political issues Russian.

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37

Shulman, Ahouva. The use of modal verb forms in Biblical Hebrew prose. 1996.

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38

Stewart, Beer, ed. An Exaltation of skylarks in prose and poetry. Pulborough: SMH Books, 1995.

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39

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Prose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0012.

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The chapter surveys forms of storytelling in prose, examining the relationship between the written and the oral against a backdrop of changing patterns of literacy. New writing is marked by humor and the carnivalesque, especially in works of popular literature that started out as oral tales, before eventually entering the written tradition either in printed versions or in manuscript copies. Literature offered escapist pleasures, and productive genres include the fabliau and fantasy tale, as well as picaresque fiction (or roguery tales) featuring characters that anticipate the “new men” of Petrine Russia by advancing socially against the odds through ambition, cunning, and lack. The chapter considers the degree to which the seventeenth-century popular fiction genuinely holds up a mirror to the trouble reality of the period; or whether the lessons it holds on the present are strongly conditioned by new forms of prose that originated in Western Europe.

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40

Classical Period : Rhetoric of Oratory and Other Prose Forms (Greek Literature, Volume 4). Routledge, 2001.

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41

Short: An International Anthology of Five Centuries of Short-Short Stories, Prose Poems, Brief Essays, and Other Short Prose Forms. Norton & Company, Incorporated, W. W., 2014.

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42

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Prose Fiction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0019.

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This chapter considers the prose genres that developed in the period and their relative artistic success and limitations, recognizing that poetry had been much more open to innovation than prose. Forms such as the memoir (fictional as well as real), autobiography, letter writing, the allegorical novel, and the short story conform to the general pattern of literary norms adapted from European models. The chapter explains that a gap opened between literary fiction in translation and novels written in Russia, arguing that Russian writers chose not to emulate the contemporary European novel, revising instead picaresque and quixotic fictions associated with the seventeenth century and the romance tradition.

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43

Lowe, John J. Vedic Prose. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793571.003.0003.

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This chapter provides a detailed account of the transitive noun and adjective categories attested in Vedic Prose. Although the Vedic Prose corpus is larger than that of the Rigveda, there are considerably fewer transitive noun/adjective categories, and relatively few transitive forms. The most commonly transitive adjective category may show some degree of integration into the verbal system as a modal formation. Statistical analysis shows that the patterns found in Rigvedic Sanskrit largely carry over into Vedic Prose. Again, there is a clear correlation between transitivity and predication. As before, different formations and types, occurring with varying frequency as transitive, are carefully examined and exemplified, including again situation-oriented nouns.

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44

Alice, Otis, Rose Marilyn Gaddis, and State University of New York at Binghamton. Translation Research and Instruction Program., eds. Varied forms, similar balances, poetic expanses: A folio of poetry and poetic prose translations. Binghamton, N.Y: National Resource Center for Translation and Interpretation, University Center at Binghamton, Translation Research and Instruction Program, 1985.

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45

Hetherington, Paul, and Cassandra Atherton. Prose Poetry. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691180656.001.0001.

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This is the first book of its kind — an introduction to the history, development, and features of English-language prose poetry, an increasingly important and popular literary form that is still too little understood and appreciated. The book introduces prose poetry's key characteristics, charts its evolution from the nineteenth-century to the present, and discusses many historical and contemporary prose poems that both demonstrate their great diversity around the Anglophone world and show why they represent some of today's most inventive writing. A prose poem looks like prose but reads like poetry: it lacks the line breaks of other poetic forms but employs poetic techniques, such as internal rhyme, repetition, and compression. The book explains how this form opens new spaces for writers to create riveting works that reshape the resources of prose while redefining the poetic. Discussing prose poetry' s precursors, including William Wordsworth and Walt Whitman, and prose poets such as Charles Simic, Russell Edson, Lydia Davis, and Claudia Rankine, the book pays equal attention to male and female prose poets, documenting women's essential but frequently unacknowledged contributions to the genre. Revealing how prose poetry tests boundaries and challenges conventions to open up new imaginative vistas, this is an essential book for all readers, students, teachers, and writers of prose poetry.

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46

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Prose and drama. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0036.

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A central theme of narrative prose and dramatic theater remained the conflict between an individual and society, increasingly specified as the clash of a man or woman with ongoing historical destruction. Prose and drama, like poetry, tested the formation of new subjectivities in response to historical catastrophe. Alongside the manifestations of Socialist Realism and its derivatives, the century-long evolution of the utopian/dystopian is traced. Attention is paid to the aesthetics of the grotesque and to the poetics of skaz, to an emerging trend of existentialist narrative and the flourishing women’s prose. Also important is the quasi-fictional mode best described as “in-between prose.” The continuous exploration of identity through changing literary genres, including resurgent modernist forms, runs through the diverse case studies.

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47

Johnson, Peter. Best of The Prose Poem: An International Journal. White Pine Press (NY), 2000.

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48

1951-, Johnson Peter, ed. The best of the prose poem: An international journal. Providence, R.I: Providence College, 2000.

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49

Kawashima, Robert S. Biblical Narrative and the Birth of Prose Literature. Edited by Danna Nolan Fewell. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199967728.013.3.

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This chapter discusses the significance of literary milieu for the analysis and interpretation of the narratives of the Hebrew Bible, in particular, the pre-exilic narratives found in Genesis-Kings (less Ruth). Appealing to literary milieu entails a type of literary-comparative method. There are, however, not one but two forms of literary comparison: historicist comparison, based on chronological and geographical contiguity, and formalist comparison, based on formal similarity. Whereas the concrete literary connections established by the former (so-called ancient Near Eastern parallels) are indispensable to the interpretation of specific passages, the abstract properties established by the latter (poetry, prose, oral tradition, and literature) bring into focus, rather, the different representational possibilities intrinsic to these different forms of narrative art.

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50

Kissane, David W. Psychosocial care of families in palliative care. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198806677.003.0007.

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The families of patients in the palliative care setting have a range of educational and care needs that form part of the basic responsibility of the hospice service. Routine family meetings are an important way to address these needs. Additionally, up to one third of families have some level of dysfunction in their relationships, which prove predictive of morbid bereavement outcomes—prolonged grief and major depressive disorders. These families who carry risk of poorer outcomes need additional care, optimally commenced during palliative care, and continued into bereavement to provide continuity of service. Assessment of family strengths and relational functioning provide insight into clinical targets to support a family. The needs of children, the elderly, disabled, or mentally ill family members need to be addressed alongside those of patients with complex illnesses. A preventive model of family-centred care may involve six to ten family therapy sessions across nine to 18 months.

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