A complete edition of all the texts in the Ugaritic Data Bank. A concordance is available separately. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

"The days of anything static-form, content, state-are over," declares poet and translator Pierre Joris in A Nomad Poetics, his first collection of critical essays. Joris maps the success and limitations of contemporary avant-garde poetics, from Tristan Tzara to the most contemporary American experimental poetry, an investigation that leads him to envision a "nomadic poetics" as a strategy for new poetic work, for translation and, fundamentally, for an ethics of early 21st century life. Extending concepts and concerns voiced by Gilles Deleuze and Félix Guattari, A Nomad Poetics is a daring first step in deploying the method of the rhizome, one grounded in Paul Celan's insight that "Reality is not. It has to be searched for and won." With articulate immediacy, Joris's essays announce a metamorphosis of language-based art, much needed if poetry is to be of essential use in shaping the world to come.

A necessary tool for any student of classics or Homer. A novel feature of the work is the introduction into the text of nearly one hundred and fifty small wood-cut images of various topics.

Dedicated to a man who has devoted his life to the study of the Greek language and its literature. Professor Jerker Blomqvist began his academic career as a PhD at Lund University 1969, and since then has been brightening up the lives of his students, colleagues and friends. He has been a popular and committed teacher who, aside from his lecturing, has also written books in subjects covering everything from Greek grammar to commentaries on classical texts. Even if his most important publications have dealt with linguistics and textual criticism, these works nevertheless contain traces of other fields that have interested him. The articles in For Particular Reasons mirror the widely different areas of interest of the guest of honour. Here are texts dealing with medicine, Latin hymnography, Greek grammar, exegetics and problems in translation.

More than any other writer, Raymond Chandler (1888-1959) is responsible for raising detective stories from the level of pulp fiction to literature. Chandler's hard-boiled private eye Philip Marlowe set the standard for rough, brooding heroes who managed to maintain a strong sense of moral conviction despite a cruel and indifferent world.Chandler's seven novels, including The Big Sleep (1939) and The Long Goodbye (1953), with their pessimism and grim realism, had a direct influence on the emergence of film noir. Chandler worked to give his crime novels the flavor of his adopted city, Los Angeles, which was still something of a frontier town, rife with corruption and lawlessness. In addition to novels, Chandler wrote short stories and penned the screenplays for several films, including Double Indemnity (1944) and Strangers on a Train (1951). His work with Billy Wilder and Alfred Hitchcock on these projects was fraught with the difficulties of collaboration between established directors and an author who disliked having to edit his writing on demand.Creatures of Darkness is the first major biocritical study of Chandler in twenty years. Gene Phillips explores Chandler's unpublished script for Lady in the Lake, examines the process of adaptation of the novel Strangers on a Train, discusses the merits of the unproduced screenplay for Playback, and compares Howard Hawks's director's cut of The Big Sleep with the version shown in theaters. Through interviews he conducted with Wilder, Hitchcock, Hawks, and Edward Dmytryk over the past several decades, Phillips provides deeper insight into Chandler's sometimes difficult personality.Chandler's wisecracking Marlowe has spawned a thousand imitations. Creatures of Darkness lucidly explains the author's dramatic impact on both the literary and cinematic worlds, demonstrating the immeasurable debt that both detective fiction and the neo-noir films of today owe to Chandler's stark vision.

One of the main sources from which the famous Bar Hebraeus might have drawn his knowledge of Syriac grammar to write his semhe. This book is not only important for the history of Syriac grammars, but can be used to learn grammar itself.

The main Neo-Aramaic-English dictionary for the dialects spoken by the "Eastern Syrians [Assyrians & Chaldeans]", including illustrations from the dialects of the Jews of Zakhu and Azerbaijan, and of the Western Syrians of Tur Abdin and Ma'lula.

The primary grammatical reference for the Neo-Aramaic dialects "spoken by the Eastern Syrians [modern Assyrians & Chaldeans] of Kurdistan, North-West Persia, and the Plain of Mosul," includes notices of the dialects of the Jews of Azerbaijan & Zakhu.

Kentucky and Kentuckians are full of stories, which may be why so many present-day writers have Kentucky roots. Whether they left and returned, like Wendell Berry and Bobbie Ann Mason, or adopted Kentucky as home, like James Still and Jim Wayne Miller, or grew up and left for good, like Michael Dorris and Barbara Kingsolver, they have one connection: Kentucky has influenced their writing and their lives. L. Elisabeth Beattie explores this influence in twenty intimate interviews.Conversations with Kentucky Writers was more than three years in the making, as Beattie traveled across the state and beyond to capture oral histories on tape. Her exhaustive knowledge of these authors helped her draw out personal revelations about their work, their lives, and the nature of writing. When Still concludes his interview with "I believe I've told you more than anybody," he could be speaking for any of Beattie's subjects.Aspiring writers will learn that Mason submitted twenty stories to the New Yorker before one was accepted, and that Still wrote articles for Sunday school magazines. There's plenty of advice: Dorris tells budding authors to get real jobs, keep journals, and read everything, even cereal boxes, and Marsha Norman reminds playwrights that "it is not the business of the theater to provide writers with a living." Kingsolver advises, "Read good stuff and write bad stuff until eventually what you're writing begins to approximate what you're reading."Beattie's collection includes striking self-portraits of such writers as Sue Grafton, Leon Driskell, James Baker Hall, Fenton Johnson, George Ella Lyon, Taylor McCafferty, Ed McClanahan, Sena Naslund, Chris Offutt, Lee Pennington, and Betty Layman Receveur.What most distinguishes these moving conversations from other author interviews is their focus on creativity, on the teaching of writing, and on the authors' strong sense of place.As Wade Hall writes in his foreword, all twenty writers recognize that their works have been significantly influenced by their "Kentucky experience." This collection offers insights into Kentucky's rich and flowering literary heritage.

In the long history of European prose fiction, few works have been more influential and more popular than the romance of chivalry Amadis of Gaul. Although its original author is unknown, it was probably written during the early fourteenth century. The first great bestseller of the age of printing, Amadis of Gaul was translated into dozens of languages and spawned sequels and imitators over the centuries. A handsome, valiant, and undefeatable knight, Amadis is perhaps best known today as Don Quixote's favorite knight-errant and model. This exquisite English translation restores a masterpiece to print.