Estamos en un Londres apagado y frío. Es el invierno de 1944, y suena el «chirrido de los autobuses, el rumor del metro, el temblor de los adoquines bajo los pies». Red, una estudiante de Zoología, se enamora de Mara Daniels, su compañera de disección en la facultad, una chica casada, elegante y despreocupada. Pronto las dos mujeres se vuelven inseparables, presas de una pasión física absoluta, pero también de una ansiedad y unos juegos enrevesados que las conducirán a un punto de no retorno. Publicada por primera vez en 1962, Amor de invierno es la historia de un amor que intenta florecer bajo el zumbido sordo de las bombas. Una indagación en el deseo y la obsesión, pero también en los sentimientos más oscuros y ambivalentes y en la identidad moldeada por la moral opresiva de la época. Esta novela de Han Suyin —«probablemente lo mejor que ha escrito nunca», según The Daily Telegraph— es su obra más inesperada y conmovedora. Una joya secreta de la literatura del siglo XX. «Un mundo propio de felicidad, frustraciones y mentiras. Una obra conmovedora y amarga sobre un amor fuera del canon». —Times Literary Supplement «Una obra extraordinaria. Una novelette únicamente por su extensión». —Anthony Quinton «La obra más excepcional de Han Suyin. Su mejor novela». —Alison Hennegan «Un libro desoladoramente cinematográfico, de jardines descuidados y cafeterías llenas de humo. Para lectores de Sally Rooney o E. M. Forster; o para incondicionales de la película Carol de Todd Haynes». —Molly Young,The New York Times
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"La historia de la filosofía occidental es el relato de un entierro. Si nos remontamos al mito originario del conocimiento, solo el filósofo es capaz de ascender a la verdad, dejando tras de sí a aquellas que permanecerán presas entre las sombras de la caverna. El selecto grupo de los autodenominados amigos de la sabiduría nunca estuvo compuesto por mujeres, esclavas y niñas, condenadas a la violencia del silencio epistémico. Este libro se pregunta por el lugar de lo femenino en la filosofía y el pensamiento. Situado como un elemento subalterno a la masculinidad dominante, lo femenino será entendido como una instancia subversiva espectral que mora en las galerías de la caverna filosófica, amenazando y desestabilizando el orden patriarcal sobre el que se asienta todo el sistema. «Definitivamente nos encontramos ante un libro de filosofía transfeminista que no solo critica el canon filosófico sino que nos muestra cómo hacerlo con conocimiento, situacionalidad y agudeza». Sayak Valencia «La frescura, la calidad narrativa, la lucidez conceptual y el atrevimiento político de este libro consiguen devolver la ilusión por leer filosofía a quienes, poco a poco, nos habíamos ido alejando de ella». Almudena Hernando"
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Richard III (Tragedy of King Richard the third) - William Shakespeare - Richard III is a play by William Shakespeare. It was probably written c. 1592–1594. It is labelled a history in the First Folio, and is usually considered one, but it is sometimes called a tragedy, as in the quarto edition. Richard III concludes Shakespeare's first tetralogy (also containing Henry VI, Part 1, Henry VI, Part 2, and Henry VI, Part 3) and depicts the Machiavellian rise to power and subsequent short reign of King Richard III of England. It is the second longest play in the Shakespearean canon and is the longest of the First Folio, whose version of Hamlet, otherwise the longest, is shorter than its quarto counterpart. The play is often abridged for brevity, and peripheral characters removed. In such cases, extra lines are often invented or added from elsewhere to establish the nature of the characters' relationships. A further reason for abridgment is that Shakespeare assumed his audiences' familiarity with his Henry VI plays, frequently referring to these plays. Richard is an ugly hunchback, "rudely stamp'd", "deformed, unfinish'd", cannot "strut before a wanton ambling nymph", and says he is "determined to prove a villain / And hate the idle pleasures of these days." Through a prophecy, that "G of Edward's heirs the murderer shall be", he has contrived to have his brother Clarence conducted to the Tower of London (the king interpreted the prophecy as George of Clarence). Speaking to Clarence en route, Richard blames the queen and says that he will himself try to help Clarence. Lady Anne attends the corpse of Henry VI with Trestle and Berkeley going from St Paul's Cathedral. She bids them set down the "honourable load" then laments. Richard appears, and Lady Anne says that "Henry's wounds [...] bleed afresh". He confesses the murder, and she spits at him. He offers himself to her sword, but she drops it. He offers to kill himself at her order, but she accepts his ring. Richard exults at having won her over so and tells the audience that he will discard her once she has served his purpose. The atmosphere at court is poisonous. The established nobles are at odds with the upwardly mobile relatives of Queen Elizabeth, a hostility fueled by Richard's machinations. Queen Margaret, Henry VI's widow, returns, though banished, and she warns the squabbling nobles about Richard, cursing extensively. The nobles, all Yorkists, unite against this last Lancastrian and ignore the warnings. Richard orders two murderers to kill Clarence in the tower. Clarence relates a distressing dream to his keeper before going to sleep. The murderers arrive with a warrant, and the keeper relinquishes his office. While the murderers are pondering what to do, Clarence wakes. He recognises their purpose and pleads with them. Presuming that Edward has offered them payment, he tells them to go to Gloucester, who will reward them better for having kept him alive. One of the murderer...
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The Mystery of Edwin Drood - Charles Dickens - The Mystery of Edwin Drood is the final novel by Charles Dickens,[1][2] originally published in 1870. Though the novel is named after the character Edwin Drood, it focuses more on Drood's uncle, John Jasper, a precentor, choirmaster and opium addict, who is lusting after his pupil, Rosa Bud. Miss Bud, Edwin Drood's fiancée, has also caught the eye of the high-spirited and hot-tempered Neville Landless. Landless and Edwin Drood take an instant dislike to each other. Later Drood disappears under mysterious circumstances. The story is set in Cloisterham, a lightly disguised Rochester. Upon the death of Dickens on 9 June 1870, the novel was left unfinished, only six of a planned twelve instalments having been published. He left no detailed plan for the remaining instalments or solution to the novel's mystery, and many later adaptations and continuations by other writers have attempted to complete the story. The novel begins as John Jasper leaves a London opium den. The next evening, Edwin Drood visits Jasper, who is the choirmaster at Cloisterham Cathedral and also his uncle. Edwin confides that he has misgivings about his betrothal to Rosa Bud, which had been previously arranged by their respective fathers. The next day, Edwin visits Rosa at the Nuns' House, the boarding school where she lives. They quarrel good-naturedly, which they apparently do frequently during his visits. Meanwhile, Jasper, having an interest in the cathedral crypt, seeks the company of Durdles, a man who knows more about the crypt than anyone else. Neville Landless and his twin sister Helena are sent to Cloisterham for their education. Neville will study with the minor canon Rev. Crisparkle; Helena will live at the Nuns' House with Rosa. Neville confides to Rev. Crisparkle that he had hated his cruel stepfather, while Rosa confides to Helena that she loathes and fears her music-master, Jasper. Neville is immediately smitten with Rosa and is indignant that Edwin prizes his betrothal lightly. Edwin provokes him and he reacts violently, giving Jasper the opportunity to spread rumours about Neville's having a violent temper. Rev. Crisparkle tries to reconcile Edwin and Neville, who agrees to apologise to Edwin if the former will forgive him. It is arranged that they will dine together for this purpose on Christmas Eve at Jasper's home. Rosa's guardian, Mr. Grewgious, tells her that she has a substantial inheritance from her father. When she asks whether there would be any forfeiture if she did not marry Edwin, he replies that there would be none on either side. Back at his office in London, Mr. Grewgious gives Edwin a ring which Rosa's father had given to her mother, with the proviso that Edwin must either give the ring to Rosa as a sign of his irrevocable commitment to her or return it to Mr. Grewgious. Mr. Bazzard, Mr. Grewgious's clerk, witnesses this transaction.
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(Akkus, etc.). unsere eigene Einschätzung des äußerlichen Zustands des Gerätes dar. Generell unterscheiden wir in vier Stufen, indem sich ein Gerät befindet: "TOP" – "Sehr Gut" – "Gut" – "Zustand C".
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El presente libro no tiene pretensiones de historia de la literatura, en el sentido de que no aborda todas y cada una de las obras de un canon dado; y no se agota tampoco en las posibilidades de un género. Como hemos dicho ya, pretendemos bosquejar un fresco y aportar a los estudios de literatura colombiana con base en unas cuantas obras elegidas estratégicamente. Está configurado en dos partes tácitas: inicialmente unos estudios centrados en la Conquista y la Colonia colombianas, y una segunda parte a literatura de los siglos XX y XXI. Esta obra busca ser un aporte más al campo de los estudios de literatura colombiana, en ningún caso el estudio último, la verdadera historia de la literatura colombiana. De esta manera quisiéramos que se leyeran los presentes estudios. Tal es el objetivo de nuestra propuesta crítica.
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Pilgrims, parables, and poetic power—Chaucer's masterpiece lives on. The Canterbury Tales by Geoffrey Chaucer is one of the most influential works in English literature. Told by a diverse group of pilgrims traveling to Canterbury, these stories weave humor, morality, romance, and social satire into a rich portrait of medieval life. From the bawdy to the profound, every tale reveals timeless truths about human behavior. Written in Middle English in the late 14th century, this collection remains a cornerstone of literary study, historical insight, and narrative invention. "The foundation of English storytelling—rich, ribald, and remarkably relevant." Why Readers and Scholars Revere It: A must-read for students of literature, medieval studies, and poetry Comparable to Shakespeare, Homer, and Dante in literary importance Ideal for collectors of Penguin Classics, Everyman's Library, and academic anthologies Join the Pilgrimage. Hear the Tales. Explore the Human Soul. Buy The Canterbury Tales today and experience a masterpiece that shaped the English literary canon.
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Canon EOS 5DS. Canon EOS 5DS R. Canon EOS 70D. Canon EOS 80D. Canon EOS 6D. Canon EOS 6D Mark II. Canon EOS 60D. Canon EOS 7D.
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This Work contains an active table of contents (HTML), which makes reading easier to make it more enjoyable. Heart of Darkness is a novella written by Polish-born writer Joseph Conrad (born Józef Teodor Konrad Korzeniowski). Before its 1902 publication, it appeared as a three-part series (1899) in Blackwood's Magazine. It is widely regarded as a significant work of English literature and part of the Western canon. This highly symbolic story is actually a story within a story, or frame narrative. It follows Marlow as he recounts, from dusk through to late night, his adventure into the Congo to a group of men aboard a ship anchored in the Thames Estuary. The story details an incident when Marlow, an Englishman, took a foreign assignment as a ferry-boat captain, employed by a Belgian trading company. Although the river is never specifically named, readers may assume it is the Congo River, in the Congo Free State, a private colony of King Leopold II. Marlow is employed to transport ivory downriver; however, his more pressing assignment is to return Kurtz, another ivory trader, to civilization in a cover up. Kurtz has a reputation throughout the region.
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La historia se desenvuelve en la casa de Bernarda Alba, un universo cerrado. En un ambiente triste, silencioso, de reclusión, se originan una serie de acontecimientos y situaciones límite. «La casa de Bernarda Alba» constituye un exponente más de la capacidad de Federico García Lorca para aunar la tradición y la vanguardia por medio de un teatro simbólico de índole muy personal que le sitúa entre los valores más destacados del canon internacional. El autor granadino continúa en el camino de la experimentación con temas, personajes y géneros de la tradición teatral, a los que presenta desde inusitadas perspectivas y filtra por el tamiz de unas modernas técnicas expresivas deudoras de las más renovadoras vanguardias del momento, junto con una profundización en las posibilidades connotativas de los símbolos. Esta nueva edición se basa en el autógrafo conservado en la Fundación Federico García Lorca.
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(*) 2. REMARQUE IMPORTANTE (pour les biens neufs et d'occasion): Nous soulignons également expressément que L'étendue de la livraison de cette offre correspond exactement aux illustrations - c'est-à-dire que vous obtenez ce que vous voyez sur les photos ("ce que vous voyez est ce que vous obtenez"). Et vice versa - ce que vous ne voyez pas sur les photos n'est expressément PAS inclus dans la livraison. Il est également expressément indiqué que l'étendue de la livraison de cette offre peut différer de l'étendue de la livraison initiale d'un nouveau produit (cela s'applique par exemple à notamment emballages d'origine, logiciels/CD, câbles, mode d'emploi, bouchons d'objectif, sacs/carquois/étuis, sangles de transport, cartes de garantie, œilletons, colliers de trépied, filtres, cartes mémoir.
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