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A biography is presented of Lebanese poet Kahlil Gibran. Emphasis is given to topics such as the popularity of the book "The Prophet," his background in art and relationship with photographer Fred Holland Day, and the influence of Romantic and Symbolist artists and writers such as Auguste Rodin and William Blake on Gibran's inspirational literature.

The article discusses how art demonstrates a metaphor of itself through the writings of composer Richard Wagner. Topics include the relationship between understanding and feeling from the essay "Opera and Drama," the link between aesthetic reflection and artistic creation from the essay "Wieland the Smith," and the explanation of an early link between a theoretical idea as presented in the novella "The Virtuoso and the Artist."

An essay is presented which examines China Miéville's radical fantasy tale "Un Lun Dun" as a potential form of utopianism. It argues that radical fantasy can expose young readers to subversive political ideas viewed against the present political and social concerns such as abuse of power in contemporary capitalist society. The essay explores the development of the late postmodern period in which technology and mass culture become political tools in literature and art.

Chapter 5 of the book "Nathaniel Hawthorne" is presented. It explores the literary career of Nathaniel Hawthorne as a writer of children's books, translations, newspaper essays and miscellaneous drudgery. It highlights the completion of his romantic book "The Scarlet Letter" which he dedicated to his wife.

Chapter 12 of the second part of the book "Without Prejudice" is presented. It explores the books titled "Nietzsche" and "Tolstoï," telling that the morality of the day is all wrong and discovered the one true way of salvation. It also explores the strength, sunshine, and beauty focused by Nietzsche and the death, abnegation, pity and holiness, which is the main focus of Tolstoï.

Chapter III of the first part of the book "Without Prejudice," by Israel Zangwill is presented. It explores the play titled "The Charlatan," written by Apostle. It also cites the claims of Apostle that his play will decide the fate of England's drama for the rest of the century. Moreover, it mentions the success of the play which was appreciated by several critics.

This essay from the book "High Lonesome: On the Poetry of Charles Wright" edited by Adam Giannelli discusses the influence of Italian painter Giorgio Morandi on the work of Wright. It explores the relation between drawing and poetry by comparing the works of Wright and Morandi. The organization and quality of images in their respective works are described.

The sources cited within the book "Fashioning of Middle-Class America: Sartain's Union Magazine of Literature and Art and Antebellum Culture" are presented including "A Religious History of the American People," by Sydney E. Ahlstrom, "Virtuosity of the Nineteenth Century," by Susan Bernstein, and "Nineteenth Century Fashion," by Penelope Byrde.

The article offers the author's insights on the influences on her literary works. She states that her influences are entangled with events, actions and places that offer a sense of total freedom. She relates her train car ride with her family in Taiwan wherein she and her sisters sang in public. She adds that seeing dance, a film or painting influences her as if it was necessary for her to write.

The fifth chapter of "Caribbean-English Passages," by Tobias Döring, is presented. Particular attention is given to the utilization of ekphrasis in Caribbean-English literature. The author also addresses questions of colonial rhetoric. The author provides an analysis of the employment of ekphrasis in David Dabydeen's epic poem, "Turner." An intertextual analysis of "Turner," and J.M.W. Turner's painting "Slavers Throwing Overboard the Dead and Dying -- Typhoon Coming On," is provided. Interpretations of both works are considered. The author provides a definition and brief historical overview of the literary practice of ekphrasis. The shift in perspective between Turner's painting and Dabydeen's poem is also considered.

The article analyzes the complexities concerning the conflict between the concept of canonicity and canon formation. According to the author, the complexities concerning the concept of these two aspects in literature suggest that there can be no definite conclusion that can be made about their true complexity. Canonicity and canon formation have precise political and ideological significance.

This article focuses on the scope of Gilles Deleuze's philosophical reflections on art, music and literature highlighted in his book Le pli. What Deleuze has to say about Baroque space and habitus in Le pli is conveyed as much by his reflections on Leibniz and the fine arts as on style and architecture per se. Le pli is arguably the most difficult of this philosopher's writings. Touching on city planning, art history, musicology, calculus, chaos theory, and the history of physics, it ventures through an astounding sum of disciplines. What Le pli makes especially obvious is that Deleuze belongs to a tradition that similarly invests plastic and verbal expression with political efficacy. A style of composition conveys a tactic and a way of dealing with the world, hence a habitus, understood in general fashion, that determines both being and action.

The article discusses the author's view regarding the countless departure of the modern fiction from the realistic conventions of the nineteenth century which tend to expose the uncertain artistry of its users. The author said that writer of fiction tend to regard the criterion of factuality as an incitement to deviance as the world of fact became an increasingly hostile reality. The author adds that they also founded, a virtual of error with varying degrees of deliberation.

Chapter V of the book "Theophile Gautier and the Fantastic," by Albert B. Smith is presented. It examines the problem of art in certain works of writer Théophile Gautier. It cites the areas of interest which predominate the works of Gautier such as the question of artistic production, attitudes toward art, the connection of art to society, and beauty.

The article discusses the history of Spain, particularly in the developments in the art and literary sectors in the country. It claims that Spain was the first geographically developed country in Europe. It cites the efforts of King Ferdinand and Queen Isabella to unify the country through language, culture and religion. It reiterates the importance of language in the theatre, thus, the development of the Castilian Spanish language.

The article informs that every picture tells a story: such at least was the general supposition until the advent of a deliberately abstract ideal of painting in modern times. It is important to emphasize at the outset that the relationship between the visual and the verbal arts has been founded for the greater part of its history on a common concern with communicating: that is, with providing a socially based set of conventions for conveying ideas or images. It is a safe generalization that the history of formal techniques in verbal and in visual art can be given in three stages: innovation, popularization, and rejection. Those artists and writers who turned away in the early years of the twentieth century from conventional modes of expression in favor of "modernism" or experiment frequently claimed to be motivated by a concern for the freedom and creative independence of their art. It may be that there is no such thing as a painting devised for purely aesthetic contemplation; there is always an irresistible tendency, at least among art critics, to verbalize response.

The article focuses on the definition of poetry. The "Concise Oxford Dictionary" give the first definition of poetry as art or work of the poet. Its first definition of a poet is writer of poems. The words poet and poetry may appear neutral. When the fashion in twentieth-century literature turned against the more extravagant claims for the poet's art inherited from the romantic movement, the words poet and poetry were given a rest. Poetry became verse and poets practitioners. The words poet and poetry could not be neutralized simply by giving them a neutral context. They brought with them grand claims and magical associations. If literature was to be rid of that baggage, the words had to be set aside. But as the words have come back, so have the associations, which were probably in any case never effectively shed. There are a number of reasons for this curious power that resides in the idea of poetry and hence in the word. One is that language more than anything else is what distinguishes us as a species, and poetry has been generally conceded to the most comprehensive and demanding use, or manifestation, of language. Language represents power in society.

The article discusses the term romanticism in literature. First, the term is used in a variety of Western cultural contexts, having a bearing on many European literatures and arts as well as on American culture. Second, the various language-based movements associated with the term cover a wide time-scale, with German, English and French romanticisms occupying different periods of literary history. And third, although our concern here is with literature, romanticism is a notion, a tide of feeling, a set of expressive attitudes and devices with application in almost every art; again, the movements in the visual arts and in music coincide only imprecisely with those in the literary field. Although it is perhaps not impossible to date the beginnings of Romanticism within the eighteenth century and in a widespread set of reactions to enlightenment thinking on epistemology, aesthetics and human behavior, it is extremely difficult to date its end and in many respects romanticism is still very much present.

Chapter 7 of the book "Ben Jonson and the Poetics of Patronage" is presented. It discusses how the patronage system influenced the tones, themes, and tactics of masques and entertainments of his plays. The masques behind his works were often seen not only as artistic but also philosophical and political. They are designed to present the best ideals of Renaissance moral philosophy. The politics behind his masques are often depicted in the specifics of domestic or foreign policies and were designed to glorify British power.

Chapter 1 of the book "Ben Jonson and the Poetics of Patronage" is presented. It discusses that patronage on English Renaissance was the central social system of that era which dominated the political life and permeated the structure of the church and universities. According to the author, its economic artistic influences were enormous. Patronage culture has affected all the arts and not just literature. The link between poetry and patronage involved more than how writers are paid, the ways they made their livings.

The article focuses on the structural and thematic evidence that relates the two major writers in the twentieth century. It provides information on the influences of Carlo Levi in the narratives of Gabriel García Márquez. It discusses a short biography of Carlo Levi, his achievements in literature and art. The comparison of Levi and Márquez' literary works is also discussed.

Chapter 11 of the second part of the book "Without Prejudice" is presented. It explores the author's literary works in London. It also explores his conceptions regarding London as the central ganglion, through which all sensations must travel before being felt at the outside points where people were really incurred.

Presents “LITERATURE AND THE STAGE” from the book “Nine Short Essays” by Warner, Charles Dudley, 1829-1900.

The article presents a definition of the term SCULPTURE AND POETRY. In historical terms, painting has always been the art first addressed by poets when they were given to contemplation of the relation of poetry to the other arts. Without resorting to statistics, one may feel confident that poets have written more lines about paintings than about buildings or ss. Indeed, the assumed simplicity, unity, and grandeur of free-standing figures and monumental works of human artifice has inspired poets as much as landscape has.

Chapter I of the book "The Arte of English Poesie," by George Puttenham is presented. It explains that a poet is both a maker and an imitator because he creates original verses and poems, which is the same with poesie art. It notes that poets perfect poesie art through some natural interventions, inherent instinct, and vast experiences or observations.

The article presents the Third Part "In the Coliseum" of the drama titled "Michael Angelo: A Fragment" by Henry Wadsworth Longfellow.

The article focuses on the life and works of Scottish painter George Harvey. It states that Harvey excelled in his sketches which are spirited and talking. It mentions that Harvey chose his subjects for their literary quality than for their pictorial quality and practised imaginative art. Furthermore, Harvey had a true affection for landscape, in which he used it with understanding and sincerity in almost all of his subject pictures.

A back cover page of the book "Exemplarity and Mediocrity: The Art of the Average from Bourgeois Tragedy to Realism," by Paul Fleming is presented.

A cover page of the book "Exemplarity and Mediocrity: The Art of the Average from Bourgeois Tragedy to Realism," by Paul Fleming is presented.

The article talks about the process of A.W. Schelgel of elevating the observer or reader on a parallel with the creator of art. This looks ahead to 20th century postmodernism and Roland Barthes' essay "The Death of the Author." Friedrich Schleiermacher says that individual judgment is as important in interpreting art and literature as it is for idealists when it comes to moral decisions.

The article discusses the irony and pastiche of American architectural theorist Charles Jencks' principle of double coding, which has been adopted by much of postmodernist art and literature. It notes that the idea aims to mix and match familiar form of deliberate pastiche quotation instead of experimenting in the manner of the modernist movement. This requires a certain amount of irony by acknowledging the difference between the cultural contexts of the past and the present.

The article presents Chapter I of the book "Milton." It mentions on English poet John Milton who was described as a man who has nothing even the insight of Shakespeare. It compares Milton to William Shakespeare wherein it says that Shakespeare is inferior to Milton in art. It states that reading the poems of Milton is like living in the presence of those royal souls.

The poem "The Art of Poetry" is presented. First Line: I ask not much! but let th' "dank wynd" moan, Last Line: And smite th' lyre with great resounding thumps.