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1. |
Record Nr. |
UNINA990007741700403321 |
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Autore |
Serick, Rolf |
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Titolo |
Securities im Movables in German Law : an Outline / Rolf Serck. Introduction : some comparisons with English Law by KurtLipstein. Introduction : some comparisons with American Law by Stefan A. Riesenfeld ; translated by Tony Weir |
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Pubbl/distr/stampa |
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Descrizione fisica |
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Disciplina |
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Locazione |
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Collocazione |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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2. |
Record Nr. |
UNINA9910255246803321 |
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Autore |
Tambling Jeremy |
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Titolo |
Histories of the Devil : From Marlowe to Mann and the Manichees / / by Jeremy Tambling |
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Pubbl/distr/stampa |
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London : , : Palgrave Macmillan UK : , : Imprint : Palgrave Macmillan, , 2016 |
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ISBN |
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Edizione |
[1st ed. 2016.] |
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Descrizione fisica |
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1 online resource (320 pages) |
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Disciplina |
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Soggetti |
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Literature - History and criticism |
Literature - Philosophy |
Literary History |
Literary Theory |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Introduction: Literature and Manicheeism -- Chapter 1: ‘The Tempter or the Tempted, Who Sins Most?' -- Chapter 2: Medieval and Early Modern Devils: Names and Images -- Chapter 3: From Carnival to King Lear: Ships, Dogs, Fools, and the Picaro -- Chapter 4: Fallen Fire: Job, Milton, and Blake -- Chapter 5: Masks, Doubles, and Nihilism -- Chapter 6: Goethe: Faust and Modernity -- Chapter 7: Dostoevsky: Murder and Suicide -- Chapter 8: Bulgakov, Mann, Adorno, and Rushdie. |
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Sommario/riassunto |
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This book is about representations of the devil in English and European literature. Tracing the fascination in literature, philosophy, and theology with the irreducible presence of what may be called evil, or comedy, or the carnivalesque, this book surveys the parts played by the devil in the texts derived from the Faustus legend, looks at Marlowe and Shakespeare, Rabelais, Milton, Blake, Hoffmann, Baudelaire, Goethe, Dostoevsky, Bulgakov, and Mann, historically, speculatively, and from the standpoint of critical theory. It asks: Is there a single meaning to be assigned to the idea of the diabolical? What value lies in thinking diabolically? Is it still the definition of a good poet to be of the |
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devil's party, as Blake argued? |
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