A Dictionary of Literary Symbols (2nd Edition) by Michael Ferber

By Michael Ferber

This can be the 1st dictionary of symbols to be in accordance with literature, instead of 'universal' mental archetypes or myths. It explains and illustrates the literary symbols that all of us often stumble upon (such as swan, rose, moon, gold), and provides hundreds and hundreds of cross-references and quotations. The dictionary concentrates on English literature, yet its entries variety extensively from the Bible and classical authors to the 20th century, taking in American and eu literatures. For this new version, Michael Ferber has integrated over twenty thoroughly new entries (including undergo, holly, sunflower and tower), and has extra to a few of the current entries. Enlarged and enriched from the 1st version, its knowledgeable type and wealthy references make this ebook a necessary instrument not just for literary and classical students, yet for all scholars of literature.

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Extra info for A Dictionary of Literary Symbols (2nd Edition)

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In the meantime, Kuzmin would reinvent the Russian poetic sphere. He published papers, magazines, and dozens of small books; he hosted events, engaged in polemics, organized conferences. Not long after we started working together, he made one of his savviest moves: he decided to make the Vavilon poetry anthology a web-based publication, dramatically expanding its reach, its frequency of publication, and its archival potential. In this, as in so much else, he was so far ahead of the rest of the literary field as to be playing some different game entirely.

He wrote about the problems of money, and freedom, and up-to-the-minute technology, problems that his (and my) parents’ generation could only really dream about. Here he is, for example, on what it’s like to be the first generation of Russians in nearly a century that is able to travel widely, freely—and lose touch with one another: Kirill Medvedev 34 I’m sitting in the Cafe-Zen near the Belarus train station; it’s got see-through windows opening on the square near the trains for Kursk and Orel.

To take one example, there is a poet named Stanislav Lvovsky, whom I have long loved and whom Kuzmin also loves, often citing him, for various reasons, as an exemplary Vavilon poet. In his poetry Lvovsky describes the social, cultural, and emotional lives of a particular social stratum—the young Moscow Russian-Jewish intelligentsia, aged about 25 to 40, which finds itself working in various quasi-cultural spheres— advertising, design, journalism, TV, and so on. Lvovsky began to ply this terrain in the mid-1990s, just as this particular stratum was first coming into being in our country.

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