Empfehlungen basierend auf "Stephen Ellcock’s Book of Textiles"

Since its first publication in 1890, Oscar Wilde's only novel, The Picture of Dorian Gray, has remained the subject of critical controversy. Acclaimed by some as an instructive moral tale, it has been denounced by others for its implicit immorality. After having his portrait painted, Dorian Gray is captivated by his own beauty. Tempted by his world-weary friend, decadent friend Lord Henry Wotton, he wished to stay young forever and pledges his very soul to keep his good looks. As Dorian's slide into crime and cruelty progresses, he stays magically youthful, while his beautiful portrait changes, revealing the hideous corruption of moral decay. Set in fin-de-siécle London, the novel traces a path from the studio of painter Basil Howard to the opium dens of the East End. The text of this edition is derived from the Oxford English Texts, which prints acritically established version of the first book edition of 1891. Also included is a new, fuller introduction, which considers the difference between the 1890 and 1891 texts, Wilde's range of sources, significant critical approaches to the novel and its reputation since 1891, full explanatory notes that identify Wilde's sources, and an up-to-date-bibliography.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

The second revision in sixty years, this sublime collection ranges over the verse, stories, essays, and journalism of one of the twentieth century's most quotable authors.In this new twenty-first-century edition, devoted admirers will be sure to find their favorite verse and stories. But a variety of fresh material has also been added to create a fuller, more authentic picture of her life's work. At the heart of her serious work lie her political writings dealing with race, labor, and international politics. "A Dorothy Parker Sampler" blends the sublime and the silly with the terrifying, a sort of tasting menu of verse, stories, essays, political journalism, a speech on writing, plus a catchy off-the-cuff rhyme she never thought to write down.The introduction of two new sections is intended to provide the richest possible sense of Parker herself. "Self-Portrait" reprints an interview she did in 1956 with The Paris Review, part of a famed ongoing series of conversations ("Writers at Work") conducted with the best of twentieth-century writers."Letters: 1905-1962," which might be subtitled "Mrs. Parker Completely Uncensored," presents correspondence written over the period of a half century, beginning in 1905 when twelve-year-old Dottie wrote her father during a summer vacation on Long Island, and concluding with a 1962 missive from Hollywood describing her fondness for Marilyn Monroe.Features an introduction by Marion Meade and cover illustrations by renowned graphic artist Seth, creator of the comic series Palooka-villeFor more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

A “marvelous history”* of medieval Europe, from the bubonic plague and the Papal Schism to the Hundred Years’ War, by the Pulitzer Prize–winning author of The Guns of August*Lawrence Wright, author of The End of October, in The Wall Street JournalThe fourteenth century reflects two contradictory images: on the one hand, a glittering age of crusades, cathedrals, and chivalry; on the other, a world plunged into chaos and spiritual agony. In this revelatory work, Barbara W. Tuchman examines not only the great rhythms of history but the grain and texture of domestic life: what childhood was like; what marriage meant; how money, taxes, and war dominated the lives of serf, noble, and clergy alike. Granting her subjects their loyalties, treacheries, and guilty passions, Tuchman re-creates the lives of proud cardinals, university scholars, grocers and clerks, saints and mystics, lawyers and mercenaries, and, dominating all, the knight—in all his valor and “furious follies,” a “terrible worm in an iron cocoon.”Praise for A Distant Mirror“Beautifully written, careful and thorough in its scholarship . . . What Ms. Tuchman does superbly is to tell how it was. . . . No one has ever done this better.”—The New York Review of Books“A beautiful, extraordinary book . . . Tuchman at the top of her powers . . . She has done nothing finer.”—The Wall Street Journal“Wise, witty, and wonderful . . . a great book, in a great historical tradition.”—Commentary

Some of their past the Tudors wanted to remember, other parts they preferred to forget: a new history, a new story, the family behind the myths.The Tudors are a national obsession; they are our most notorious royal family. But, as Leanda de Lisle shows in this gripping new history, beyond the well-worn headlines is a family still more extraordinary than the one we thought we knew.The Tudor canon typically starts with the Battle of Bosworth in 1485, before speeding on to Henry VIII and the Reformation. But this leaves out the family’'s obscure Welsh origins, the ordinary man known as Owen Tudor who would fall (literally) into a Queen’'s lap, and later her bed. It passes by the courage of Margaret Beaufort, the pregnant thirteen-year-old girl who would help found the Tudor dynasty; and the childhood and painful exile of her son, the future Henry VII. It ignores the fact that the Tudors were shaped by their past -- those parts they wished to remember and those they wished to forget.By creating a full family portrait set against the background of this past, Leanda de Lisle enables us to see the Tudors in their own terms, rather than ours; and presents new perspectives and revelations on key figures and events. We see a family dominated by remarkable women doing everything possible to secure its future; understand why the Princes in the Tower disappeared; look again at the bloodiness of Mary’'s reign; at Elizabeth’'s relationships with her cousins; and re-discover the true significance of previously overlooked figures. We see the supreme importance of achieving peace and stability in a violent and uncertain world, and of protecting and securing the bloodline. Tudor tells a family story like no other, and brings it once more to vivid life.

While King Henry VIII lies on his deathbed, Queen Catherine Parr searches for the person who murdered the London printer who had her shocking, confessional memoir. By the author of Heartstone. 30,000 first printing.

Once upon a time, in 1930s England, there were two little princesses named Elizabeth and Margaret Rose. Their father was the Duke of York, the second son of King George V, and their Uncle David was the future King of England.We all know how the fairy tale ended: When King George died, “Uncle David” became King Edward VIII---who abdicated less than a year later to marry the scandalous Wallis Simpson. Suddenly the little princesses’ father was King. The family moved to Buckingham Palace, and ten-year-old Princess Elizabeth became the heir to the crown she would ultimately wear for over fifty years.The Little Princesses shows us how it all began. In the early thirties, the Duke and Duchess of York were looking for someone to educate their daughters, Elizabeth and Margaret, then five- and two-years-old. They already had a nanny---a family retainer who had looked after their mother when she was a child---but it was time to add someone younger and livelier to the household.Enter Marion Crawford, a twenty-four-year-old from Scotland who was promptly dubbed “Crawfie” by the young Elizabeth and who would stay with the family for sixteen years. Beginning at the quiet family home in Piccadilly and ending with the birth of Prince Charles at Buckingham Palace in 1948, Crawfie tells how she brought the princesses up to be “Royal,” while attempting to show them a bit of the ordinary world of underground trains, Girl Guides, and swimming lessons.The Little Princesses was first published in 1950 to a furor we cannot imagine today. It has been called the original “nanny diaries” because it was the first account of life with the Royals ever published. Although hers was a touching account of the childhood of the Queen and Princess Margaret, Crawfie was demonized by the press. The Queen Mother, who had been a great friend and who had, Crawfie maintained, given her permission to write the account, never spoke to her again.Reading The Little Princesses now, with a poignant new introduction by BBC royal correspondent Jennie Bond, offers fascinating insights into the changing lives and times of Britains royal family.

A timely survey of this significant British artist and the complexities surrounding his work and reputation todayFamed for his depictions of sun, sea, and sailing during a late Victorian and Edwardian golden age, the British painter Henry Scott Tuke RA (1858–1929) is an intriguing artistic anomaly. Moving between Cornish-based artist colonies and the London art scene, stylistically Tuke presents a fusion of progressive plein airisme, loose impressionistic handling, and a vivid palette, and yet he was fundamentally an academic painter of exhibition nudes. Though consistently successful throughout his lifetime, in the wake of two world wars Tuke’s depictions of bathing boys came to represent a seemingly outmoded epoch. This far-reaching study features new research from leading authorities on Victorian and Edwardian art. Essays tackle questions of wide-ranging artistic influences, experimental art practice, and a varied reception history. Tuke’s repeated portrayal of adolescent male nudes provokes challenging questions about the depiction, exhibition, and reception of the body—especially the young body—both then and now.Published in association with Watts GalleryExhibition Schedule: Watts Gallery, Surrey(June 7–September 12, 2021)Falmouth Art Gallery, Cornwall(September 18–November 20, 2021)

When Victoria was born, in 1819, the world was a very different place. Revolution would threaten many of Europe's monarchies in the coming decades. In Britain, a generation of royals had indulged their whims at the public's expense, and republican sentiment was growing. The Industrial Revolution was transforming the landscape, and the British Empire was commanding ever larger tracts of the globe. In a world where women were often powerless, during a century roiling with change, Victoria went on to rule the most powerful country on earth with a decisive hand. Fifth in line to the throne at the time of her birth, Victoria was an ordinary woman thrust into an extraordinary role. As a girl, she defied her mother's meddling and an adviser's bullying, forging an iron will of her own. As a teenage queen, she eagerly grasped the crown and relished the freedom it brought her. She was outspoken with her ministers, overstepping conventional boundaries and asserting her opinions. And as science, technology, and democracy were dramatically reshaping the world, Victoria was a symbol of steadfastness and security--queen of a quarter of the world's population at the height of the British Empire's reach.

The companion volume to the complete Diary of Samuel Pepys in its most authoritative and acclaimed edition.Samuel Pepys’s Diary was first published in abbreviated form in 1825. A succession of new versions brought out in the Victorian era made the Diary one of the best-known books and Pepys one of the best-known figures of English history. However, not until the publication of the Latham and Matthews edition was the Diary presented in its complete form, with a newly transcribed text and the benefit of a systematic commentary. The text of the Diary is in nine volumes, followed by this Companion and an Index. The edition has justly become established as the definitive version, hailed by The Times as ‘one of the glories of contemporary English publishing’ and by C. P. Snow as ‘a triumph of modern scholarship’.The Companion has been compiled and edited by Robert Latham, with specialist contributions from other scholars. The result of many years’ research, it is an essential adjunct to the Diary text.Over 1,700 entries, alphabetically arranged, fill in the background details about the people and places mentioned in the Diary. In addition there are longer articles on a wide range of subjects of particular relevance to Pepys and his period, such as the Great Fire, the Dutch Wars and the Plague. Others reflect Pepys’s lively interest in the arts, science and medicine, and his work for the Navy. In addition, many aspects of social history are covered in articles on, for example, dress, food, drink, taverns and travel. The book is completed by an extensive glossary, genealogical tables, a chronology and maps.The Companion will not only enrich every reader’s appreciation of Pepys’s magnificent Diary, but forms in its own right a fascinating and varied survey of seventeenth-century England.

A charming and amusing view of Nin's early life, from age eleven to seventeen; the self-portrait of an innocent girl who is transformed, through her own insights, into an enlightened young woman. "An enchanting portrait of a girl's constant search for herself" (Library Journal). Preface by Joaquin Nin-Culmell; Index; photographs and drawings. Translated by Jean L. Sherman.