By Michael Ferber
This can be the 1st dictionary of symbols to be in accordance with literature, instead of 'universal' mental archetypes or myths. It explains and illustrates the literary symbols that all of us usually come upon (such as swan, rose, moon, gold), and provides enormous quantities of cross-references and quotations. The dictionary concentrates on English literature, yet its entries variety broadly from the Bible and classical authors to the 20th century, taking in American and ecu literatures. For this re-creation, Michael Ferber has incorporated over twenty thoroughly new entries (including undergo, holly, sunflower and tower), and has extra to some of the latest entries. Enlarged and enriched from the 1st version, its knowledgeable type and wealthy references make this ebook a necessary instrument not just for literary and classical students, yet for all scholars of literature.
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Extra info for A Dictionary of Literary Symbols (2nd Edition)
12) Similarly, as Gordon’s Kate Henry drives toward a Toronto skyline that looks like the Emerald City in the Land of Oz in the late afternoon, she reflects on the use of Canadian locations as low-cost sites for American film production. There are “as usual” film crew trucks parked outside the old stone wing of the Don Jail—“now used only as a stage for jails supposedly in New York or Boston” (31). ” Take, for example, Bowen’s wry account, in Wandering Soul Murders (1992), of driving on the Trans-Canada Highway on Canada Day: The station where we stopped gave out small Canadian flags with a gas purchase.
My brother the priest packs one. I can’t understand you people. ” (47) One of the ways in which Howard Engel’s Benny Cooperman is written as “Canadian” is through ironic reflection on his shortcomings in the generic toughness department, and on the incongruity of trying to play the hard-boiled tough guy in Canada in any case—particularly with egg-salad d (1988), for example, Benny stains on your tie. In A Victim Must Be Found is trying to overcome his nervousness about confronting the man who has hired him without divulging the “real” reason or all the “facts”—a classic “hard-boiled” narrative convention—by reminding himself that this was “not some movie casino run by some Raymond Chandler kingpin of gambling and related vices.
Wright’s protagonist is Staff Sergeant Karl Alberg of the Force; in New Brunswick, RCMP Inspector Madoc Rhys performs for Charlotte MacLeod writing as “Alisa Craig”; in the Northwest Territories Inspector Matthew “Matteesie” Kitologitak investigates at the bidding of Scott Young. The reality is that, if these men existed, they could be promoted and transferred from one end of the country to the other and all points in between. Indeed, Kitologitak, an Inuit, is stationed in Ottawa and assigned to cases in the North.