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The writings of the High Church Tory pamphleteer Mary Astell (1666-1731) are a remarkable contribution to the constitutional debates that ushered in the modern democratic state. An interlocutor with Swift and Defoe, Astell was perhaps the first systematic critic of Locke's writings. Astell's political pamphlets Reflections upon Marriage, A Fair Way with the Dissenters, and An Impartial Enquiry into the Origins of Rebellion have never been reprinted in their entirety. This new edition makes accessible the major works of an important political theorist.

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The writings of the High Church Tory pamphleteer Mary Astell (1666-1731) are a remarkable contribution to the constitutional debates that ushered in the modern democratic state. An interlocutor with Swift and Defoe, Astell was perhaps the first systematic critic of Locke's writings. Astell's political pamphlets Reflections upon Marriage, A Fair Way with the Dissenters, and An Impartial Enquiry into the Origins of Rebellion have never been reprinted in their entirety. This new edition makes accessible the major works of an important political theorist.

This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. No dust jacket.

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Astell & Kern SA700 Overview With the portable SA700 128GB High-Resolution Digital Audio Player from Astell&Kern, you get a player th...

Included among the sacred books of Judaism and Christianity alike, the Song of Songs does not mention God at all; on the surface it is a lyrical exchange between unnamed lovers who articulate the range of emotions associated with sexual love. Ann W. Astell here examines medieval reader response, both interpretive and imitative, to the Song. Disputing the common view that the literal meaning of Canticles had no value for medieval readers, Astell points to twelfth-century commentaries on the Song, as well as an array of Middle English works, as evidence that the Song's sensuous imagery played an essential part in its tropological appeal.Emphasizing the ways in which a complex fusion of the Song's carnal and spiritual meanings appealed rhetorically to a variety of audiences, Astell first considers interpretive responses to Canticles, contrasting Origen's dialectical exposition with the affective commentaries of the twelfth century―ecclesiastical, Marian, and mystical. According to Astell, these commentaries present Canticles as a marriage song that mirrors a series of analogous marriages, both within the individual and between human and divine persons. Astell describes interpretations of the Song of Songs in terms of the various feminine archetypes that the expositors emphasize―the Virgin, Mother, Hetaira, or Medium. She maintains that the commentat5ors encourage the auditor's identification with the figure of the Bride so as to evoke and direct the feminine, affective powers of the soul. Turning to literature influenced by the Song, she then discusses how the reading process is reinscribed in selected works in Middle English, including Richard Rolle's autobiographical writings, Pearl, religious love lyrics, and cycle dramas.The Song of Songs in the Middle Ages provides an innovative model of reader response that opens the way for a deeper understanding of the literary influence of biblical texts.

The order of the fragments making up the Canterbury Tales and the structure of that collection have long been questioned. Ann W. Astell proposes that Chaucer intended the order that is preserved in what is known as the Ellesmere manuscript. In supporting her claim, Astell reveals a wealth of insights into the world of medieval learning, Chaucer's expected audience, and the meaning of the Canterbury Tales. Astell examines the conventions of medieval learning familiar to Chaucer and discovers in two related topical outlines, those of the seven planets and of the divisions of philosophy, an important key. Assimilated to each other in a kind of transparent overlay, these two outlines, which were frequently joined in the literature with which Chaucer was familiar, accommodate the actual structural divisions of the Tales (in the order in which they appear in the Ellesmere manuscript), define the story blocks as topical units, and show the pilgrims' progress from London to Canterbury to be simultaneously a planetary pilgrimage and a philosophical journey of the soul. The two patterns, Astell maintains, locate Chaucer's work in relation to that of both Gower and Dante, philosophical poets who shared Chaucer's relatively novel status as lay clerk, and who were, like him, members of the educated, secular bourgeoisie. The whole of the Canterbury Tales is thus revealed to be in dialogue with Gower's Confessio and Dante's Paradiso. Indeed, it represents an elaborately detailed response to the images used, and the stories related, in Dante's successive heavens.

Sonia Riccardi, impetuous and sensual, was a woman no man could resist. And Larry Astell, heir to a champagne fortune, knew their passion was the most important part of his life. Until war placed in jeopardy all they held dear - love, family and country. From the Left Bank of the 1930s to Nazi-occupied Paris, A FAREWELL TO FRANCE is a magnificent epic, played out against the tumultuous background of the time: a decadent French government, the life of a foreign correspondent, the grandeur of the champagne regions and the glory of the French Resistance.

Separated by the German invasion, Sonia Riccardi and Larry Astell, lovers before the war, must each help restore their country's freedom and their own chance for happiness

Mary Astell’s A Serious Proposal to the Ladies is one of the most important and neglected works advocating the establishment of women’s academies. Its reception was so controversial that Astell responded with a lengthy sequel, also in this volume. The cause of great notoriety, Astell’s Proposal was imitated by Defoe in his “An Academy for Women,” parodied in the Tatler, satirized on the stage, plagiarized by Bishop Berkeley, and later mocked by Gilbert and Sullivan in Princess Ida.

Included among the sacred books of Judaism and Christianity alike, the Song of Songs does not mention God at all; on the surface it is a lyrical exchange between unnamed lovers who articulate the range of emotions associated with sexual love. Ann W. Astell here examines medieval reader response, both interpretive and imitative, to the Song. Disputing the common view that the literal meaning of Canticles had no value for medieval readers, Astell points to twelfth-century commentaries on the Song, as well as an array of Middle English works, as evidence that the Song's sensuous imagery played an essential part in its tropological appeal.Emphasizing the ways in which a complex fusion of the Song's carnal and spiritual meanings appealed rhetorically to a variety of audiences, Astell first considers interpretive responses to Canticles, contrasting Origen's dialectical exposition with the affective commentaries of the twelfth century―ecclesiastical, Marian, and mystical. According to Astell, these commentaries present Canticles as a marriage song that mirrors a series of analogous marriages, both within the individual and between human and divine persons. Astell describes interpretations of the Song of Songs in terms of the various feminine archetypes that the expositors emphasize―the Virgin, Mother, Hetaira, or Medium. She maintains that the commentat5ors encourage the auditor's identification with the figure of the Bride so as to evoke and direct the feminine, affective powers of the soul. Turning to literature influenced by the Song, she then discusses how the reading process is reinscribed in selected works in Middle English, including Richard Rolle's autobiographical writings, Pearl, religious love lyrics, and cycle dramas.The Song of Songs in the Middle Ages provides an innovative model of reader response that opens the way for a deeper understanding of the literary influence of biblical texts.

The order of the fragments making up the Canterbury Tales and the structure of that collection have long been questioned. Ann W. Astell proposes that Chaucer intended the order that is preserved in what is known as the Ellesmere manuscript. In supporting her claim, Astell reveals a wealth of insights into the world of medieval learning, Chaucer's expected audience, and the meaning of the Canterbury Tales. Astell examines the conventions of medieval learning familiar to Chaucer and discovers in two related topical outlines, those of the seven planets and of the divisions of philosophy, an important key. Assimilated to each other in a kind of transparent overlay, these two outlines, which were frequently joined in the literature with which Chaucer was familiar, accommodate the actual structural divisions of the Tales (in the order in which they appear in the Ellesmere manuscript), define the story blocks as topical units, and show the pilgrims' progress from London to Canterbury to be simultaneously a planetary pilgrimage and a philosophical journey of the soul. The two patterns, Astell maintains, locate Chaucer's work in relation to that of both Gower and Dante, philosophical poets who shared Chaucer's relatively novel status as lay clerk, and who were, like him, members of the educated, secular bourgeoisie. The whole of the Canterbury Tales is thus revealed to be in dialogue with Gower's Confessio and Dante's Paradiso. Indeed, it represents an elaborately detailed response to the images used, and the stories related, in Dante's successive heavens.