Edizioni Sonda
Italian publishing house born in 1988. Publishing non fiction for adults and children with passion and curiosity.
View Rights PortalItalian publishing house born in 1988. Publishing non fiction for adults and children with passion and curiosity.
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View Rights PortalThis volume questions and qualifies commonly accepted assumptions about the early modern English sonnet: that it was a strictly codified form, most often organised in sequences, which only emerged at the very end of the sixteenth century and declined as fast as it had bloomed, and that minor poets merely participated in the sonnet fashion by replicating established conventions. Drawing from book history and relying on close reading and textual criticism, this collection offers a more nuanced account of the history of the sonnet. It discusses how sonnets were written, published and received in England as compared to mainland Europe, and explores the works of major (Shakespeare, Sidney, Spenser) and minor (Barnes, Harvey) poets alike. Reflecting on current editorial practices, it also provides the first modern edition of an early seventeenth-century Elizabethan miscellany including sonnets presumably by Sidney and Spenser.
Edwin Morgan is Scotland's major living poet, and Inventions of modernity was the first book-length study of his work. Since the 1940s Morgan's poetry has been carving out an alternative to the conventional evolutions from Modernism to Postmodernism, creating instead a substantial body of writing that ranges from the sublime to the hilarious. Instinctively at odds with the literary politics of the Pound-Eliot axis that remained influential deep into the twentieth century, Morgan develops instead a radical and libertarian poetics in an encyclopaedia of forms; from Anglo-Saxon metre through sonnet-sequences to concrete poems, and including gay poetry, science fiction verse and prize-winning translations into both English and Scots from numerous languages. This authoritative volume is of interest to students, teachers and academic researchers involved with strategies of reading, with cultural studies, with the politics of literary history and with gay and transgressive writing. ;
These essays written to celebrate the distinguished career of Renassiance scholar, Professor Malcolm Quainton, confirm the idea that the sixteenth-century in France was deeply marked by conflict, but readers expecting to find a volume wholly devoted to studies of war and religious disputation will be intrigued to discover that these rare not the only topics discussed. A number of subtle analyses reveal the stresses of internal conflict experienced by writers and woven into the fabric of their compositions. The three sections focus respectively on living and writing in conflict, the Wars of Religion, and intertextuality as conflict. Subjects include Ronard, Baïf, Du Bellay, D'Aubigné, sonnets by Mary Queen of Scots and the political role of court festivities, while a previously unknown riposte to Clément Marot is first published here. This book will appeal to scholars and students of French language, literature and culture, and sixteenth-century European history.
Elizabeth Barrett wurde am 6. März 1806 in Durham / England geboren. Sie genoß eine privilegierte Kindheit und war äußerst belesen, v.a. in antiker Literatur. Im Alter von zwölf Jahren verfaßte sie ihr erstes episches Gedicht. 1826 wurde ihr erstes Werk – anonym – veröffentlicht, An Essay on Mind and Other Poems. 1844 lernte sie den um sechs Jahre jüngeren Dichter Robert Browning kennen, den sie gegen den Willen ihres Vaters heiratete. 1846 floh das Paar nach Italien und lebte von da an in Florenz. 1850 wurde Sonnets from the Portuguese veröffentlicht, eine der bekanntesten Sammlungen von Liebesgedichten in englischer Sprache. In ihren späteren Werken verarbeitete sie auch politische und soziale Themen, wie beispielsweise die männliche Dominanz über Frauen in ihrem Versepos Aurora Leigh (1857). Elizabeth Barrett Browning starb am 29. Juni 1861 in Florenz.
ABBA ABBA is one of Anthony Burgess's most original works, combining fiction, poetry and translation. A product of his time in Italy in the early 1970s, this delightfully unconventional book is part historical novel, part poetry collection, as well as a meditation on translation and the generating of literature by one of Britain's most inventive post-war authors. Set in Papal Rome in the winter of 1820-21, Part One recreates the consumptive John Keats's final months in the Eternal City and imagines his meeting the Roman dialect poet Giuseppe Gioachino Belli. Pitting Anglo-Italian cultures and sensibilities against each other, Burgess creates a context for his highly original versions of 71 sonnets by Belli, which feature in Part Two. This new edition includes extra material by Burgess, along with an introduction and notes by Paul Howard, Fellow in Italian Literature at Trinity College, Cambridge.
Mit dieser Edition, die alle übersetzerischen Arbeiten Rilkes versammelt, liegt die von Ernst Zinn besorgte Ausgabe der Sämtlichen Werke Rainer Maria Rilkes geschlossen vor. Der Band vereinigt neben den bislang bekannten Übertragungen (Sonnets from the Portuguese von Elizabeth Barrett-Browning, Le Centaure von Maurice de Guérin, L'amour de Madeleine und die Lettres Portugaises, André Gides Retour de l'Enfant prodigue, die Sonette der Louïze Labé, die Charmes und den Eupalinos von Paul Valéry, die Michelangelo-Texte sowie einzelne Gedichte von Verlaine, Mallarmé, Baudelaire, Petrarca u.a.) die Reihe der einzeln veröffentlichten Gedichtübertragungen, die Übersetzungen aus dem Nachlaß und die in den letzten Jahren ans Licht gekommenen hinterlassenen, teilweise fragmentarischen Verdeutschungen des Dichters. Nicht nur der Kreis der Autoren, die übersetzt worden sind, hat sich erweitert (Gregh, Maeterlinck, Verhaeren, Magallon u.a.), auch der Kreis der Sprachen, aus denen übersetzt worden ist, reicht weiter, als bislang allgemein bekannt war. Neben die Übertragungen aus dem Französischen, Italienischen und Englischen treten noch die aus dem Lateinischen, dem Flämischen, Dänischen, Schwedischen, dem Russischen und Mittelhochdeutschen. Um ein authentisches Bild der Übersetzungskunst des Dichters zu vermitteln, sind den Übertragungen die Originaltexte gegenübergestellt, die Rilke benutzt hat. Besondere Beachtung verdient der Anhang des Bandes, in dem mehr als dreißig seit 1966 neu aufgefundene Rilke-Gedichte, zumeist Widmungsgedichte, als »Ergänzungen zu den Bänden II und III« vorgestellt werden.
A Vision of Battlements is the first novel by the writer and composer Anthony Burgess, who was born in Manchester in 1917. Set in Gibraltar during the Second World War, the book follows the fortunes of Richard Ennis, an army sergeant and incipient composer who dreams of composing great music and building a new cultural world after the end of the war. Following the example of his literary hero, James Joyce, Burgess takes the structure of his book from Virgil's Aeneid. The result is, like Joyce's Ulysses, a comic rewriting of a classical epic, whose critique of the Army and the postwar settlement is sharp and assured. The Irwell Edition is the first publication of Burgess's forgotten masterpiece since 1965. This new edition includes an introduction and notes by Andrew Biswell, author of a prize-winning biography of Anthony Burgess.
In these times of change and transformation, we have faced, individually and collectively, our deepest fears, discovering how vulnerable and fragile we are. The technological revolution that has drastically altered our way of communicating, the risks of climate change, the ongoing pandemic, and the resurgence of fear from a continental-scale war remind us of the illusory nature of control and the fragility of our sense of security. "Encuentro" is a response to our new vulnerability: a voice that speaks, shouts, or whispers what the ancient memory of peoples has passed down to us. Through shamanic practices applicable to daily life and a simple yet profound presentation of the basic principles of this ancestral wisdom, Fer Broca teaches us how to merge our personal experiences and face our fears with the help of a living tradition that is constantly evolving. This book is both personal and social, informative and inspiring, practical and introspective, designed to help us find meaning in times of crisis.
With trademark wit and intelligence, Luke Kennard updates Shakespeare's sonnets, relocating them to a modern house party.
An accomplished poet’s first and only sonnet sequence.
Meditations in the form of classical fourteen line sonnets inspired by current events, sermon topics, personal experience etc. viewed from reformed theology perspective; i.e. absolute sovereignty of God, salvation by grace through the vicarious sacrifice of Jesus Christ. These sonnets may be used for private devotions, or group discussion, and include an appendix containing comprehensive scripture references for the doctrinal points raised.
Talking about sonnets in the twenty-first century might seem somehow outdated. Yet, Bruni's verses are of a stainless vital energy, impervious to the liquid erosion of time. The power of a calibrated verse, the adequate rhyme, the abundance of details determine the evolution of a collection that exudes from every syllable the pure essence of the poet who is absorbed by his own words. --- Paolo Bruni è un autore dinamico, multiforme, aperto a intraprendere con coraggio strade nuove e a costruire ponti umani, senza paura che crollino. D’altronde, le sue stesse origini sono un crocevia di direttrici culturali che si intersecano: la Sicilia e la Calabria sono le terre dei suoi antenati, mentre Roma è la città in cui sono nati, e tuttora vivono con le rispettive famiglie, il padre Nicola, giornalista di successo, e il poeta stesso.Parlare di sonetti nel ventunesimo secolo potrebbe sembrare a molti fuori tempo massimo. Eppure, leggendo i versi del Bruni, si coglie un’energia vitale inossidabile, impermeabile alla liquida erosione del tempo. Il potere di un verso calibrato, la rima adeguata, la dovizia di particolari che volge al dettaglio sempre e comunque determinano l’evoluzione di una raccolta che trasuda da ogni sillaba l’essenza pura del poeta che viene assorbito dalle sue stesse parole.Si colgono momenti in cui la dolcezza è come un mare calmo, lievemente increspato da una brezza disposta ad accarezzarlo, che si tramuta di colpo in tempesta. In “Sciroppo da more – Brunette liquide” le emozioni divengono musica, poiché l’armonia si sposa perfettamente con l’arte ardita della parola ed entrambe danzano insieme scivolando giù fino a un bivio inatteso, dove si palesa l’alter ego dell'autore, quel Paul Bernàc che, con prepotenza quasi irriverente, si fa largo là dove il Bruni non oserebbe metter piede. Qui, da questo suggestivo sdoppiamento, nasce un’irresistibile fascinazione la quale genera, per incanto, la poesia della vita, che nasce come un incontro effimero ma, proprio per questo, magico e irripetibile.
This collection of poems explores a number of interesting topics from Ninjas and Shoguns, to Robin Hood, Britain's Got Talent, to poems on Nature, Elvis Presley, the Piccadilly Line and the History of London. Warren Brown has been writing Poetry since the age of Eighteen and has published a number of his poems in magazines, newspapers, blogs,poetry.com and in the Anthology of Poetry, published by the Watermark Press, USA. Warren enjoys writing poems and has also tried his hand at writing a variety of verse, from the Limerick to the Clerihew. In a number of his poems, Warren likes to narrate a story, while creating a character and a situation, using powerful word imagery. The Reader will find the poems of Warren Brown to be both inspiring and educational, with a lot of positive expressions related to life, the nature of man, the growth of the person, the development of society, in our Modern Age and the evolution of the human race.
William Shakespeare once wrote that, “Cupid is a knavish lad, thus to make poor females mad.” The trouble is that Cupid himself would probably agree… As probably the last person in the world who’d appreciate hearts, flowers and romance, Coop is convinced that true love doesn’t exist – which is rather unfortunate considering he’s also known as Cupid, the God of Love. He’d rather spend his days drinking, womanising and generally having as much fun as he possible can. As far as he’s concerned, shooting people with bolts of pure love is a waste of his time…but then his path crosses with that of shy and retiring Skye Sawyer and nothing will ever be quite the same again. A sexy romance fantasy, Eros is a seductive re-telling of the classic Greek myth, Cupid and Psyche.
This Sourcebook is not a survey of English lyric poems but rather a florilegium. It singles out great poems of the last five centuries worthy of study in liberal education—in Great Books programs, Core curricula, and the Humanities generally. The poems were selected not as representative of the author’s time or oeuvre, but rather as addressed to the reader and the reader’s time by virtue of their representing the nature of things. That is what makes a poem great and worthy of inquiry, in John Tomarchio’s judgement. The capacities, needs, and interests of students of such great poetry were the principles of selection. To arrange the great poems selected Tomarchio looked to their meters as a formal measure intrinsic to them, rather than to epochal divisions. The paradigmatic example of this is the classical English sonnet. Many an English poet has submitted themselves to the self-discipline of this poetic form born in the classical period of English poetry in Tudor England. But what of such historical context? When Robert Frost chooses to write a sonnet in the 20th century, why associate it more with the free verse of e.e. cummings than of the quincentenary sonnet tradition his chosen form invokes for context? The Sourcebook arranges poems according to five such metrical modes, however along with an Index by poet as well . Tomarchio’s enumeration of poetic modes does not presume to be either exhaustive or normative, but rather interpretative of poetic practices and hopefully more elucidative than historical considerations. Further, as understanding great poetry’s means deepens interpretation of ends, the Sourcebook begins with a propaedeutic “grammar” that introduces students to such devices of poetic art as meter, rhyme, and trope.
“Kevin Oberlin’s deft sonnets, like the Texas chanteuse they describe, are lively and picaresque, ‘nervy’ and ‘coy,’ and they unreel their story with dazzling speed.”—Michael Collier“In sonnets so marvelously subtle and fluid that we don’t even wake up to the fact that they are sonnets, Kevin Oberlin guides us into the life of a girl in the spotlight. These little A-list marvels of craft open up the world of a young B-list Texas jazz singer, her over-the-top mother, her venues, her agent, and her creepy fans. Oberlin makes it clear that despite the details of hotels, cell phones, poker hands, and trips to the gym, these poems are more importantly about persistence, bravery, the sweat beneath the shine, and the act of singing itself. He’s written an ars poetica, a poet’s take on a singer’s soul. There’s no chaff here, only a handful of beautiful, flexible, elastic sonnets written with natural ease.”—Molly Peacock“No star-struck lover or dark mistress inhabits these lively sonnets but a flesh-and-blood, poker-playing Texan with a cell phone, an agent, an anxious mother, and a load of her own worries as she tries to make it in the music business. From the Star Spangled Banner at a racetrack to the warm-up for B. B. King, Spotlit Girl is a nimble character study that captures both the craziness of a performer's life and the time-stopping intimacy between a vocalist and her audience. The singer's in the spotlight, and Kevin Oberlin has the focus and the dazzle to make her shine.”—Don Bogen