ST. IGNATIUS LOYOLA AND THE EARLY JESUITS (ROSE, STEWART)
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RAFAEL PATXOT I JUBERT, MECENES I CIENTÍFIC (MALUQUER SOSTRES, JOAQUIM)
UN COMEDOR DE OPIO O LOS FANTASMAS DE THOMAS DE QUINCEY (BAUDELAIRE, CHARLES)
En este libro, Un comedor de opio, Baudelaire, a través del análisis de Suspiria de profundis, procura comunicar al lector el sentimiento de que De Quincey fue «no sólo uno de los espíritus más originales, más auténticamente humorísticos de la Vieja Inglaterra, sino una de las personalidades más afables y más caritativas que hayan honrado la historia de las letras». Desea justificarlo no por lo que no hizo, por lo que se le condenaba, o sea por no haber rendido servicios útiles a la humanidad, sino por lo que hizo. Baudelaire reclama para De Quincey la gratitud del hombre «realmente espiritual». Sólo por haber escrito un libro bello, y pregunta : «¿Lo Bello no es acaso tan noble como lo Verdadero ?»
EDMUND CAMPION (SIMPSON, RICHARD)
MARCO BELLOCCHIO (MUÑOZ SUAY, RICARDO)
Marco Bellocchio, ni apocalíptico ni integrado : angry, enragé, arrabiato, palabras sin traducción castellana. La hostilidad semántica obliga a la V.O. con subtítulos Arte y Ensayo. Contra el cine-colirios cine al estómago. I pugni in tasca, cine provincial de la Italia en la que los puños al aire se enfriaron, mejor están los puños en los bolsillos y la lengua entre los dientes como en un ataque epiléptico con Verdi de fondo.El lector tendría derecho a pedir que el libro le sirviera de introducción al mundo de Marco Bellocchio, pero nosotros tenemos el deber de advertirle que no será así porque el libro ha sido concebido, mejor manipulado, por Ricardo Muñoz Suay, ese hombre que siempre está detrás impulsando en las sombras todas las oleadas de joven cine español, alguna resaca del viejo cine español ?Viridiana, por ejemplo? y escribiendo sus columnas en revistas off y hasta en las revistas en. Si R. M. S. ?habrán observado que estos individuos prefieren firmarse con iniciales? ha seleccionado textos y compuesto las notas de introducción pueden estar seguros que no será para facilitar la asimilación de Bellocchio. El lector está advertido : los papeles que anteceden probablemente están presididos por la misma intención traumática que las imágenes de I pugni in tasca.
DRAMA PATRIO (GIL ALBERT, JUAN)
Juan Gil-Albert regresó a España tras el exilio forzoso, en 1947, permaneciendo hasta hace tres años ?cuando su obra empezó finalmente a publicarse y leerse en todo el país? en ese otro exilio, no menos penoso, que el de sentirse extraño en su propia tierra. Desde aquel silencio pudo observar ?y vivir? con apasionada, si bien contenida indignación, día a día, la experiencia del período más lúgubre del franquismo hasta la celebración de sus ?25 años de paz? en 1964, año en que Juan Gil-Albert decide escribir Drama patrio, destinado, no obstante, en áquellos y otros muchos años todavía, a sumirse en el fondo de un cajón. Hoy sale finalmente a la luz, ya no como un grito en medio de la oscuridad sino como un testimonio implacable y un lúcida reflexión.?No es éste un informe imparcial sobre España ?sobre su guerra civil?, tampoco parcial.? (. . . ) ?yo he pretendido presentar la verdad, vivida en su existencia pasional. No es una interpretación personal, es más que eso, me expresa a mí, naturalmente, pero en cuanto coincido con el hombre de la calle (. . . ), la opinión.? (. . . ) ?El tono que he querido darle, el que se me ha impuesto, es en cierto modo, panfletario.? (. . . ) ? Es decir, lo que he querido rescatar del panfleto es su clima , su decisión, su eficacia.? Difícilmente un autor podría definir su propia obra con mayor precisión y acierto.
VINLAND AND ITS RUINS (HORSFORD, CORNELIA)
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BIOGRAPHICAL SKETCH OF HON. JOSEPH DUNCAN, FIFTH GOVERNOR OF ILLINOIS (BLATCHFORD, ELIPHALET WICKES)
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
IN MEMORIAM (CLARK, RUFUS WHEELWRIGHT)
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HEINRICH HEINE’S MEMOIRS (HEINE, HEINRICH)
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THE LOVE-LIFE OF DR. KANE (KANE, ELISHA KENT/FOX,MARGARET)
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
WIFE NO. 19 (YOUNG, ANN ELIZA)
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THE CORRESPONDENCE OF HONOR DE BALZAC; VOLUME 2 (BALZAC, HONOR DE/KENNEY, CHARLES LAMB/SURVILLE, LAURE)
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BYEPATHS OF BIOGRAPHY (BRIGHTWELL, CECILIA LUCY)
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BATTLEFIELDS OF THE WORLD WAR, WESTERN AND SOUTHERN FRONTS (JOHNSON, DOUGLAS WILSON)
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.