Jaufre rudel biography of albert einstein

  • “No-one is ever betrayed

    • Commentary

    LZ offers some retrospective remarks on his intentions in Bottom in Prep+ 167 and 242-243.

    Bernstein, Charles. “Words and Pictures.” Sagetrieb 2.1 (1983): 9-34. Rpt. Content’s Dream: Essays 1975-1984 (Sun & Moon, 1986): 114-161.

    Comens, Bruce. Apocalypse and After: Modern Strategy and Postmodern Tactics in Pound, Williams, and Zukofsky (1995): 158-174.

    Cordes, Jocelyn. “Love’s Labor: Reading Zukofsky’s Bottom: on Shakespeare.” Sagetrieb 14.3 ( 1995): 77-88.

    Corman, Cid. “At: Bottom.” Word for Word: Essays on the Arts of Language, vol. 1 (Black Sparrow Press, 1977): 128-169.

    Hatlen, Burton. “Zukofsky, Wittgenstein, and the Poetics of Absence.” Sagetrieb 1.1 (1982): 74-82.

    Hunt, Erica. “Beginning at ‘Bottom.’” Poetics Journal 3 (1983): 63-66.

    Kalck, Xavier. Pluralism, Poetry, and Literacy: A Test of Reading and Interpretive Techniques. Routledge, 2021. 101-124.

    Malanga, Gerald. “Some Thoughts on Bottom and After I’s.” Poetry 107.1 (1965): 60-64.

    Melnick, David. “The ‘Ought’ Of Seeing: Zukofsky’s Bottom.” MAPS 5 (1973): 55-65. Online.

    Perelman, Bob. “Foreword” to Bottom: on Shakespeare. Wesleyan University Press, 2002. vii-xiii.

    Rifkin, Libbie. Career Moves: Olson, Creeley, Zukofsky, Berrigan, and the American Avant-Garde. University of Wisconsin Press, 2000. 92-96.

    Salvato, Nick. Uncloseted Drama: American Modernism and Queer Performance. Yale University Press, 2010. 64-73.

    Scroggins, Mark. Louis Zukofsky and the Poetry of Knowledge. University of Alabama Press, 1998. 68-94.

    ___. The Poem of a Life: A Biography of Louis Zukofsky. Shoeman Hoard, 2007. 300-311.

    ___. “Zukofsky’s Bottom: on Shakespeare: Objectivist Poetics and Critical Prosody.” West Coast Line 27.3 (1993): 17-36.

    Twitchell-Waas, Jeffrey. “Keep Your Eyes on the Page: Zukofsky’s Bottom: on Shakespeare.” Paideuma 39 (2012): 209-247.

     

    Notes to Bottom


    Publishing History

    According to Scroggins, the origins

  • In this introductory paper my
    • Forenote Part 1 Chapter 3 concludes Ada's prologue. It begins with an excursus. For the first but not the last time, Ada flaunts its centrifugality as Van states at length the two related science-fiction themes of the novel, teasingly present but unexplained in the first two chapters: the "L (or electricity) disaster," which resulted in electricity being banned and regarded as almost obscene in the mid-nineteenth century of the story's world; and that world itself, Antiterra, which seems an exact topological match but a frequent chronological mismatch of our own. Somehow, in some obscure connection with the "L disaster," the notion arose in the Antiterra of the novel that there existed somewhere in space a sibling planet called Terra. Although the unstable and the unhappy seized on Terra as an ideal world, Terra the Fair, even a kind of Next World, it sounds to us suspiciously like our world.

    Nabokov has written that "the difference between the comic side of things, and their cosmic side, depends upon one sibilant" (NG 142). Throughout the novel the Antiterra theme allows him a shimmer of strangeness, of magic minor dislocation, as he plants innumerable small comic surprises of conjunction and disjunction between Antiterra and "our" Terra. But it also offers him a chance to take apart and reassemble his cosmos.

    The "L disaster" and the ban on electricity may, as Dana Dragunoiu suggests (private communication) reflect the knowledge of the effects of nuclear weapons and the Ban the Bomb anti-nuclear campaigns of the 1960s. The Terra theme in a sense arises out of the space exploration that fascinated Nabokov and the rest of his planet in the decade after Sputnik, but it also echoes a note he wrote almost half a century before Ada. There, he imagines looking up
    at the evening star, his favorite, applying to it simile after simile, finding nothing on his evening walk more beautiful. . . . Suddenly it speaks: "Foolish man! What are you excited about? I

    The following notes attempt to explain cultural, historical and literary allusions in Wodehouse’s text, to identify his sources, and to cross-reference similar references in the rest of the canon. These notes were originally written by Terry Mordue, and can be seen in their original form here. They have been edited, expanded, and somewhat reformatted by Neil Midkiff [NM] and others as credited below.

    The Code of the Woosters was published simultaneously in the UK and US, by Herbert Jenkins, London, and by Doubleday, Doran, New York, on 7 October 1938. It was serialized in the Saturday Evening Post and the Daily Mail prior to book publication; see this page for details of serial appearances.

    Page references are to the Penguin edition, using the 1953 “set in Monotype Garamond” plates, reprinted at least through the 1980s. Notes flagged with ° are substantially revised; notes flagged with * are new in 2021–23.

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    Chapter 1 (pp. 5–20)

    Autumn — season of mists and mellow fruitfulness (p. 5)

    Season of mists and mellow fruitfulness,
    Close bosom-friend of the maturing sun;
    Conspiring with him how to load and bless
    With fruit the vines that round the thatch-eaves run;

    John Keats: Ode, “To Autumn” (1819)

    one of those bracers of yours (p. 5)

    We learn of Jeeves’s “pick-me-ups,” “morning revivers,” or “bracers” in several stories; the first mention (in story chronology) is in “Jeeves Takes Charge” (1916):

    It is a little preparation of my own invention. It is the dark meat-sauce that gives it its color. The raw egg makes it nutritious. The red pepper gives it its bite. Gentlemen have told me they have found it extremely invigorating after a late evening.

    In other stories the recipe provides aid and succour to other gentlemen as well. [NM]

    he shimmered out (p. 5)

    Jeeves’s movements in and out are usually described as noiseless an

    Introduction

    Classen, Albrecht. "Introduction". Mental Health, Spirituality, and Religion in the Middle Ages and Early Modern Age, edited by Albrecht Classen, Berlin, Boston: De Gruyter, 2014, pp. 1-154. https://doi.org/10.1515/9783110361643.1

    Classen, A. (2014). Introduction. In A. Classen (Ed.), Mental Health, Spirituality, and Religion in the Middle Ages and Early Modern Age (pp. 1-154). Berlin, Boston: De Gruyter. https://doi.org/10.1515/9783110361643.1

    Classen, A. 2014. Introduction. In: Classen, A. ed. Mental Health, Spirituality, and Religion in the Middle Ages and Early Modern Age. Berlin, Boston: De Gruyter, pp. 1-154. https://doi.org/10.1515/9783110361643.1

    Classen, Albrecht. "Introduction" In Mental Health, Spirituality, and Religion in the Middle Ages and Early Modern Age edited by Albrecht Classen, 1-154. Berlin, Boston: De Gruyter, 2014. https://doi.org/10.1515/9783110361643.1

    Classen A. Introduction. In: Classen A (ed.) Mental Health, Spirituality, and Religion in the Middle Ages and Early Modern Age. Berlin, Boston: De Gruyter; 2014. p.1-154. https://doi.org/10.1515/9783110361643.1

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  • ] If Albert Einstein is right