CUBI - Culture | Biblioteche | In rete

Abstract: "II Club dei suicidi" è un racconto composto di altri racconti, come del resto l'intera opera Le nuove Mille e una notte (The New Arabian Nights), pubblicata fra il 1881 e il 1882, di cui costituisce una parte considerevole. protagonisti principali della storia, il principe Florizel e il colonnello Geraldine, guidano il lettore attraverso vicende appassionanti e inconsuete, tra fuorilegge in cerca della morte e personaggi innocenti tirati a forza in situazioni spiacevoli, tra single desiderosi di avventure e individui senza scrupoli.

Abstract: Rimasto inedito fino agli anni '20, questo breve racconto-saggio ha per protagonisti un narrante e il suo amico Erskine. Una sera, dopo cena, il discorso cade sul tema dei falsi letterari. Erskine tira fuori da uno stipo un bel ritratto di giovane in abiti di fine Seicento, ritto vicino a un tavolo con la destra appoggiata su un libro, "i Sonetti" di Shakespeare aperto sulla dedica: "All'unico ispiratore dei seguenti sonetti...". Erskine racconta come un suo giovane amico oxfordiano, Graham aveva ipotizzato che proprio quel giovine fosse il destinatario dei "Sonetti": un attore giovane della compagnia di teatro shakespeariano di nome Willie Hughes. Graham per affermare la verita' di questa sua scoperta si era ucciso. Erskine si mostra incredulo sull'ipotesi, ma non il personaggio narrante. Tutto l'armamentario della polemica e della persuasione e' messo in opera da Wilde mediante i suoi personaggi per convincere di questa (sua) tesi.

Abstract: Nell'acquistare il vecchio castello dei Canterville, in Inghilterra, la famiglia Otis non avrebbe immaginato di appropriarsi anche del più mostroso ed esilarante fantasma che si ricordi...

Abstract: Of the countless vampire movies, books, and plays out there, Bram Stoker's Dracula is still the OG of blood-sucking monsters. Told as a series of letters and journal entries, this classic follows a young Englishman to Transylvania where he encounters his client Count Dracula. After revealing himself, the Count soon makes his way back to England on a blood-sucking tour. Chock full of lunatics, vampire dogs, beheadings, and gore, this is a timeless piece of horror.

Abstract: It was Lady Windermere's last reception before Easter, and Bentinck House was even more crowded than usual. Six Cabinet Ministers had come on from the Speaker's Levée in their stars and ribands, all the pretty women wore their smartest dresses, and at the end of the picture-gallery stood the Princess Sophia of Carlsrühe, a heavy Tartar-looking lady, with tiny black eyes and wonderful emeralds, talking bad French at the top of her voice, and laughing immoderately at everything that was said to her. It was certainly a wonderful medley of people. Gorgeous peeresses chatted affably to violent Radicals, popular preachers brushed coat-tails with eminent sceptics, a perfect bevy of bishops kept following a stout prima-donna from room to room, on the staircase stood several Royal Academicians, disguised as artists, and it was said that at one time the supper-room was absolutely crammed with geniuses. In fact, it was one of Lady Windermere's best nights, and the Princess stayed till nearly half-past eleven.

Abstract: Dr. Henry Jekyll is a "large, well-made, smooth-faced man of fifty with something of a stylish cast", who occasionally feels he is battling between the good and evil within himself, thus leading to the struggle between his dual personalities of Jekyll and Edward Hyde. He has spent a great part of his life trying to repress evil urges that were not fitting for a man of his stature. He creates a serum, or potion, in an attempt to mask this hidden evil within his personality. However, in doing so, Jekyll transforms into the smaller, younger, cruel, remorseless, evil Hyde.

Abstract: Although an old, consistent exile, the editor of the following pages revisits now and again the city of which he exults to be a native; and there are few things more strange, more painful, or more salutary, than such revisitations. Outside, in foreign spots, he comes by surprise and awakens more attention than he had expected; in his own city, the relation is reversed, and he stands amazed to be so little recollected. Elsewhere he is refreshed to see attractive faces, to remark possible friends; there he scouts the long streets, with a pang at heart, for the faces and friends that are no more. Elsewhere he is delighted with the presence of what is new, there tormented by the absence of what is old. Elsewhere he is content to be his present self; there he is smitten with an equal regret for what he once was and for what he once hoped to be. He was feeling all this dimly, as he drove from the station, on his last visit; he was feeling it still as he alighted at the door of his friend Mr. Johnstone Thomson, W.S., with whom he was to stay. A hearty welcome, a face not altogether changed, a few words that sounded of old days, a laugh provoked and shared, a glimpse in passing of the snowy cloth and bright decanters and the Piranesis on the dining-room wall, brought him to his bed-room with a somewhat lightened cheer, and when he and Mr. Thomson sat down a few minutes later, cheek by jowl, and pledged the past in a preliminary bumper, he was already almost consoled, he had already almost forgiven himself his two unpardonable errors, that he should ever have left his native city, or ever returned to it.

Abstract: The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the

Abstract: Fettes studia medicina a Edimburgo e lavora e riceve ospitalità dall’anatomista mister K. Fettes è incaricato di ricevere i corpi portati per la dissezione. In un’occasione, Fettes identifica il corpo di una donna che conosceva, ed è convinto che sia stata uccisa. Ma un altro studente, Mac-farlane, lo convince a non denunciare l’accaduto, perché sarebbero entrambi implicati nel crimine. 167

Abstract: Torna di attualità in questi mesi un testo scritto da Hannah Arendt negli anni Settanta. Si tratta di un'originale riflessione sulla natura della politica e sul suo rapporto con la verità. Il libro - qui proposto con il testo originale a fronte - prende spunto dalla vicenda dei Pentagon Papers, documenti riservati del Dipartimento della difesa USA: nel 1971 alcuni stralci di quelle relazioni coperte da segreto di Stato furono trafugati e pubblicati sulle pagine del New York Times, rivelando all'opinione pubblica l'ammissione da parte del Pentagono dell'assoluta inutilità strategica dell'impegno americano in Vietnam.

Abstract: Riuscirà Orlando a ritrovare Angelica? Dov'è andata Angelica? Perché non è più tra i pupi del teatro? Cosa ci fanno i pupi tra i mercati della città? Corse e battaglie infinite riempiono le pagine del viaggio colorato e fantastico