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English drama --- Prologues and epilogues --- Theater --- History and criticism. --- History

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French language --- anno 1700-1799 --- anno 1900-1999 --- anno 1800-1899 --- anno 1600-1699 --- Prefaces --- 804.0 --- Academie francaise --- Prologues and epilogues --- Frans. Franse taalkunde --- 804.0 Frans. Franse taalkunde --- Académie française. --- Dictionnaire

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The General Prologue to Chaucer's Canterbury Tales is one of the most enduring works of English literature. Beloved by scholars, teachers, students, and general readers, it has been given a great many different interpretations. This annotated, international bibliography of twentieth-century criticism on the Prologue is an essential reference guide. It includes books, journal articles, and dissertations, and a descriptive list of twentieth-century editions; it is the most complete inventory of modern criticism on the Prologue. The extensive annotations provide uniquely convenient access to many publications that are otherwise difficult to obtain.In her introduction, Caroline Eckhardt provides a careful and comprehensive overview of modern trends in criticism, trends which can be traced through the bibliography. At the beginning of the century, for example, Chaucer's Prologue was often described as a 'portrait gallery' and praised for its realism - social, psychological, and dramatic. Later in the century came emphases on irony, rhetoric, Freudian interpretations, elaborate allegories, and stylistic complexities. At present, the Prologue is often interpreted as a system of signs and symbols in which realism, if it exists at all, serves purposes beyond itself. The smiling and serene poet of the earlier period has been replaced by a self-conscious ironist, sometimes with a split personality. The portrait gallery of the beginning of the century is still there, though the spectator who walks along it tends to see something less fixed textually (the Prologue is now commonly discussed as work-in-progress) and more complicated structurally, generically, and thematically. It is the spectator, of course, who has changed.

Christian pilgrims and pilgrimages in literature --- English poetry --- Civilization, Medieval, in literature --- Prologues and epilogues --- Epilogues --- Postscripts (Epilogues) --- Prefaces --- Chaucer, Geoffrey, --- Canterbury tales (Chaucer, Geoffrey) --- Caxton's Chaucer (Chaucer, Geoffrey)

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This book is both a contribution to an interdisciplinary study of literature and other media and a pioneering application of cognitive and frame-theoretical approaches to these fields. In the temporal media a privileged place for the coding of cognitive frames are the beginnings while in spatial media physical borders take over many framing functions. This volume investigates forms and functions of such framing spaces from a transmedial perspective by juxtaposing and comparing the framing potential of individual media and works. After an introductory theoretical essay, which aims to clarify basic concepts, the volume presents eighteen contributions by scholars from various disciplines who deal with individual media. The first section is dedicated to framing in or through the visual arts and includes discussions of the illustrations of medieval manuscripts, the practice of framing pictures from the Middle Ages to Magritte and contemporary American art as well as framings in printmaking and architecture. The second part deals with literary texts and ranges from studies centred on framings in frame stories to essays focussing on the use of paratextual, textual and non-verbal media in the framings of classical, medieval and modern German and American narrative literature; moreover, it includes studies on defamiliarized framings, e.g. by Julio Cortázar and Jasper Fforde, as well as an essay on end-framing practices. Sections on framings in film (including the trailers of Tolkien's The Lord of the Rings ) and in music (operatic overtures and Schumann's piano pieces) provide perspectives on further media. The volume is of relevance to students and scholars from various fields: intermedia studies, cognitive approaches to the media, literary and film studies, history of art, and musicology.

Arts --- Borders, Ornamental (Decorative arts) --- Boundaries in literature --- Film. --- Frame-stories --- Intermedialität. --- Kunst. --- Literatur. --- Motion pictures --- Music --- Musik. --- Rahmen. --- Ästhetik. --- Psychological aspects --- Aesthetics --- Philosophy and aesthetics --- Graz --- Bordures (Arts décoratifs) --- Frontières dans la littérature --- Récits enchâssés --- Cinéma --- Musique --- Congresses. --- Aspect psychologique --- Congrès --- Esthétique --- Philosophie et esthétique --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Prologues and epilogues --- Short story --- Tales --- Ornamental borders (Decorative arts) --- Decoration and ornament --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- History and criticism --- Arts, Primitive

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"In this incisive, original book, S. Williams reads prefaces to German literature and philosophy around 1800 as pretexts for writing, examining three of the most remarkable preface-writers of that era--Goethe, Jean Paul, and Hegel--in the contexts not only of German, but also European print culture, thought, and literature"-- "Around 1800, print culture became a particularly rich source for metaphors about thinking as well as writing, nowhere more so than in the German tradition of Dichter und Denker. Goethe, Jean Paul, and Hegel (among many others) used the preface in order to reflect on the problems of writing itself, and its interpretation. If Sterne teaches us that a material book enables mind games as much as it gives expression to them, the Germans made these games more theoretical still. Weaving in authors from Antiquity to Agamben, Williams shows how European-and, above all, German-Romanticism was a watershed in the history of the preface. The playful, paradoxical strategies that Romantic writers invented are later played out in continental philosophy, and in post-Structuralist literature. The preface is a prompt for playful thinking with texts, as much as it is conventionally the prosaic product of such an exercise"--

German literature --- Prefaces --- History and criticism. --- Goethe, Johann Wolfgang von, --- Jean Paul, --- Hegel, Georg Wilhelm Friedrich, --- Hegel, Giorgio Guglielmo Frederico --- Hegel, Georg Wilhelm Friedrich --- Paul, Jean, --- Richter, Johann Paul Friedrich, --- Rikhter, Zhen Polʹ Friderik, --- Richter, Jean Paul, --- Goethe, Johann Wolfgang --- Goethe --- Goethe, Johann Wolfgang von --- Von Goethe, Johann Wolfgang --- von Goethe, Johann Wolfgang --- Hete, Johann Vol'fhanh --- Gete, Iogann Vol'fgang --- ゲーテ --- Gete, Volʹfgang --- Ko-tê --- Gede --- Gete, Jogann --- Gette --- Gʹote, Ĭokhan Volʹfgang --- Jūtah, Yūhān Fūlfjānj --- Goethe, J. W. --- Jītī --- Gete, V. --- Koetʻe --- Goetʻe --- Getė, --- Gkaite --- Gitah, Y. Ṿ. --- Goethe, Jan Wolfgan, --- Gëte, Iogann Volʹfgang --- Göte --- Gyoete --- Goethe, W. v. --- Fon-Geteh, Ṿ. --- Geteh, Yohan Ṿolfgang Fon --- -Giteh, Yohan Ṿolfgang Fon --- -Gete, Johan Volfgang --- Hete, Ĭ. V. --- Kēōtʻē, Volfkank --- Katē --- Katē, Yōkān̲ Vulpkēṅk Vān̲ --- Гете, Иоганн Вольфганг --- Qöte, Y. V. --- Qöte, Yohan Volfqanq --- גטה --- גטה, יוהאן וולפגנג פון, --- גטה, י.ו --- גיתה --- גיתה, יוהאן וולפאנג פון --- גיתה, יוהאן וולפגנג פון, --- גיתה, יוהן וולפגאנג וון, --- גיתה, יוהן וולפגנג פון, --- גיתה, יוהן וולפגנג, --- געטהע --- געטהע, יאהאן וואלפגאנג --- געטהע, יאהאן וואלפגאנג פון, --- געטהע, יאהאן װאלפגאנג, --- געטהע, י. וו --- געטהע, י. וו. פאן --- געטהע, י. װ., --- געטהע, י.װ --- געטע, װ.פ --- גתה, וו --- גתה, יוהן וולפגאנג ון, --- גתה, יוהן וולפגנג --- י. וו. געטהע --- جوته --- گوته، يوهان ولفگانگ ون --- 歌德, --- Criticism and interpretation. --- Prefaces. --- German literature. --- PHILOSOPHY / Aesthetics. --- LITERARY CRITICISM / Gothic & Romance. --- LITERARY CRITICISM / European / German. --- Prologues and epilogues --- Gede, --- Gëte, Iogann Volʹfgang, --- Gete, Jogann, --- Gete, Johan Volfgang, --- Gete, Volʹfgang, --- Gēte, Yohan Vorufugangu fon, --- Geteh, Yohan Ṿolfgang Fon-, --- Gette, --- Gitah, Y. Ṿ., --- Giteh, Yohan Ṿolfgang Fon-, --- Gkaite, --- Goetʻe, --- Goethe, --- Goethe, Jan Wolfgang, --- Göte, --- Gʹote, Ĭokhan Volʹfgang, --- Gyoete, --- Jītī, --- Jūtah, Yūhān Fūlfjānj, --- Katē, --- Katē, Yōkān̲ Vulpkēṅk Vān̲, --- Kēōtʻē, Volfkank, --- Ko-tê, --- Koetʻe, --- Qöte, Yohan Volfqanq, --- Von Goethe, Johann Wolfgang, --- Chenkel, --- Gegelʹ, Georg, --- Hegel, --- Hegel, G. W. F. --- Hegel, Guillermo Federico, --- Hegel, Jorge Guillermo Federico, --- Hēgeru, --- Hei Ge Er, --- Hei-ko-erh, --- Heyel, Georg Wilhelm Friedrich, --- Hīghil, --- Higil, Gʼūrg Vīlhim Frīdrīsh, --- Hījil, --- Khegel,