A Confession was written in the last decade of the 19th century and was mainly a treatise on the meaning of life. Tolstoy had by this point had a religious awakening and had wrestled for decades with the purpose of his life on Earth. Tolstoy had questioned his faith when still an adolescent. He had been raising, like the majority of Russians, in the official established church of the country – the Russian Orthodox Church. The trappings of religion, such as genuflecting, meant nothing to him and he formed the opinion that often people who proclaimed to be good religious folk were often inferior morally to those who were agnostic or atheist in their beliefs. This annotated edition includes a biography and critical essay.

War and Peace begins with a scene at a party in St. Petersburg in 1805. It is the Napoleonic era – the French general has conquered much of Western Europe and Russia is nervous. Russia is allied with the Austrian Empire which is resisting Napoleon’s forces along its borders. At the party the reader is introduced to the main characters including Pierre Bezukhov and Andrew Bolkonski and members of two families: Vasili, Anatole, and Helene Kuragin and Natasha, Sonya, and Nicholas Rostov. The plot is driven by the actions of the families – Andrew and Pierre join the Russian army at the Austrian Front, Nicholas almost gambles his family’s fortune away, and when Pierre returns home, he almost kills his wife’s lover. Andrew, missing in action on the Austrian Front, eventually returns home to find his wife has just died in childbirth. This annotated edition includes a biography and critical essay.

Unique among early modern artists, the Baroque painter, sculptor, and architect Gianlorenzo Bernini was the subject of two monographic biographies published shortly after his death in 1680: one by the Florentine connoisseur and writer Filippo Baldinucci (1682), and the second by Bernini's son, Domenico (1713). This interdisciplinary collection of essays by historians of art and literature marks the first sustained examination of the two biographies, first and foremost as texts. A substantial introductory essay considers each biography's author, genesis, and foundational role in the study of Bernini. Nine essays combining art-historical research with insights from philology, literary history, and art and literary theory offer major new insights into the multifarious connections between biography, art history, and aesthetics, inviting readers to rethink Bernini's life, art, and milieu. Contributors are Eraldo Bellini, Heiko Damm, John D. Lyons, Sarah McPhee, Tomaso Montanari, Rudolf Preimesberger, Robert Williams, and the editors.Maarten Delbeke is Assistant Professor of architectural history and theory at the universities of Ghent and Leiden. Formerly the Scott Opler Fellow in Architectural History at Worcester College (Oxford), he is the author of several articles and a forthcoming book on Seicento art and theory.Evonne Levy is Associate Professor of the History of Art at the University of Toronto. She is also the author of Propaganda and the Jesuit Baroque (2004).

The idiot of the title is the protagonist of the novel, Prince Myshkin. He is a simple, honest man who has not had the benefit of education or a high level of intelligence, but his character is good and he lives by Christian values. At the beginning of the novel Myshkin is returning to St. Petersburg from Switzerland, where he has been under medical treatment for epilepsy. On the train home he meets two people who will play a part in his life. The first of this two is Parfyon Rogozhin, a young man of questionable character. The second person is Lebedev, a government official. When Myshkin arrives in St. Petersburg he moves out into society and meets Nastasya Fillipnova, who Rogozhin is obsessed with. Myshkin is considered an idiot by the St. Petersburg society because he is inarticulate and often stammers when he tries to talk to people.

This ambitious undertaking is designed to acquaint students, teachers, and researchers with reference sources in any branch of English studies, which Marcuse defines as "all those subjects and lines of critical and scholarly inquiry presently pursued by members of university departments of English language and literature.'' Within each of 24 major sections, Marcuse lists and annotates bibliographies, guides, reviews of research, encyclopedias, dictionaries, journals, and reference histories. The annotations and various indexes are models of clarity and usefulness, and cross references are liberally supplied where appropriate. Although cost-conscious librarians will probably consider the several other excellent literary bibliographies in print, such as James L. Harner's Literary Research Guide (Modern Language Assn. of America, 1989), larger academic libraries will want Marcuse's volume.-- Jack Bales, Mary Washington Coll. Lib., Fredericksburg, Va. -Library Journal.

Mary Sidney Herbert, Countess of Pembroke, was renowned in her own time for her metrical translation of biblical Psalms, several original poems, translations from French and Italian, and her literary patronage. William Shakespeare used her Antonius as a source, Edmund Spenser celebrated her original poems, John Donne praised her Psalmes, and Lady Mary Wroth and Aemilia Lanyer depicted her as an exemplary poet. Arguably the first Englishwoman to be celebrated as a literary figure, she has also attracted considerable modern attention, including more than two hundred critical studies. This volume offers a brief introduction to her life and an extensive overview of the critical reception of her works, reprints some of the most essential and least accessible essays about her life and writings, and includes a full bibliography.

This pioneering work is the first book to systematically explore the literature of gay and lesbian writers of color in the United States. Critical Essays challenges the marginalization and tokenization of gay men and lesbians of color in the dominant academic discourses by focusing exclusively on the imaginative work of representative Native-American, Asian-American, Latino(a), and African-American gay and lesbian writers. As the first book offering a scholarly assessment of ethnic gay and lesbian writing in the U.S., Critical Essays simultaneously defies ethnic and mainstream homophobia as well as straight and gay/lesbian racism. This deliberate counter to the dominant white discourse of gay and lesbian literature offers a lively contribution to the debate on the intersections of race, ethnicity, gender/sexuality and class in American literature. A wide range of critical approaches, including historical readings, cultural analysis, and deconstructive criticism, is employed to the works of such major literary figures as Audre Lorde, James Baldwin, John Rechy, Paula Gunn Allen, and Gloria Anzaldúa. These thought-provoking chapters disrupt the complacent notion of a unified gay/lesbian community by questioning the presumed similarities of persons who share sexual identity. Some of the specific topics explored in Critical Essays include: post-coloniality and gay/lesbian identities emerging Asian-American gay and lesbian writers redefining the Harlem Renaissance from gay perspectives contemporary African-American gay male performance art relocating the gay Filipino This groundbreaking volume will be of immense interest to undergraduate, graduate, and advanced scholars in Gay and Lesbian studies, Women’s studies, African-American studies, Asian-American studies, Latino(a) studies and Native-American studies. It will also serve students and scholars as a valuable introduction to the diversity of authors that comprise twentieth-century American literature.