Every year, an anonymous gift is left on eighteen-year-old Lucy's porch. It's the only gift she receives all year, and it's exactly what she needs. This year's gift exposes hidden clues, untangling the undisclosed fates of her parents. Along the way, she finds Toph, a college athlete who's easy on the eyes and deems to be more useful than suspected. With the help of her best friend Art, a chemistry genius who resides at the nursing home where she's employed, she delves into an impossible mission for truth, love, and freedom.

A guide to references commonly used in speech and writing. Explains more than 900 allusions. Entries include examples from todays leading media. A must for serious readers, language lovers, and ESL students.

The well-known parallels between Genesis and Leviticus invite further reflection, particularly in regard to the rhetorical and theological purpose of their lexical, syntactical, and conceptual correspondences. This volume investigates the possibility that the final-form text of Leviticus is an indirect reference to Genesis 1–3 and examines the rhetorical significance of such an allusion. The face of Pentateuch scholarship has shifted dramatically in the last forty years, resulting in the questioning of many received truths and the employment of a host of new, renewed, and often competing methodologies by biblical scholars. This study sits at the intersection of these recent interpretive trends. G. Geoffrey Harper uses insights from the fields of intertextuality, rhetorical criticism, and speech act theory to create a methodological framework, which he applies to three Leviticus pericopes. Chapters 11, 16, and 26 are examined in turn, and for each the assessment of potential parallels at lexical, syntactical, and conceptual levels reveals a complex web of interconnected allusion to the creation and Eden narratives of Genesis 1 and 2–3. Moreover, Harper probes the theological and rhetorical import of these intertextual connections and explores how Leviticus ought to be understood in its Pentateuchal context. This comprehensive study of the connections between these two sections of the Hebrew Bible sheds light on both the literary artistry of these ancient texts and the persuasive purposes that lie behind their composition.

Originally published in 1994, this pioneering study looks empirically at the way allusion works in specific fictions and affects the reading process. Clear, concise definitions and distinctions are illustrated by close readings of Flaubert, Stendhal, Balzac, Zola, Proust, and Robbe-Grillet.

Allusions are a marvelous literary shorthand. A miser is a Scrooge, a strong man a Samson, a beautiful woman a modern-day Helen of Troy. From classical mythology to modern movies and TV shows, this revised and updated third edition explains the meanings of more than 2,000 allusions in use in modern English, from Abaddon to Zorro, Tartarus to Tarzan, and Rambo to Rubens. Based on an extensive reading program that has identified the most commonly used allusions, this fascinating volume includes numerous quotations to illustrate usage, drawn from sources ranging from Thomas Hardy and Charles Dickens to Bridget Jones's Diary. In addition, the dictionary includes a useful thematic index, so that readers not only can look up Medea to find out how her name is used as an allusion, but also can look up the theme of "Revenge" and find, alongside Medea, entries for other figures used to allude to revenge, such as The Furies or The Count of Monte Cristo. Hailed by Library Journal as "wonderfully conceived and extraordinarily useful," this superb reference--now available in paperback--will appeal to anyone who enjoys language in all its variety. It is especially useful for students and writers.

Who inspired Johannes Brahms in his art of writing music? In this book, Jacquelyn E. C. Sholes provides a fresh look at the ways in which Brahms employed musical references to works of earlier composers in his own instrumental music. By analyzing newly identified allusions alongside previously known musical references in works such as the B-Major Piano Trio, the D-Major Serenade, the First Piano Concerto, and the Fourth Symphony, among others, Sholes demonstrates how a historical reference in one movement of a work seems to resonate meaningfully, musically, and dramatically with material in other movements in ways not previously recognized. She highlights Brahms's ability to weave such references into broad, movement-spanning narratives, arguing that these narratives served as expressive outlets for his complicated, sometimes conflicted, attitudes toward the material to which he alludes. Ultimately, Brahms's music reveals both the inspiration and the burden that established masters such as Domenico Scarlatti, J. S. Bach, Haydn, Mozart, Schubert, Schumann, Wagner, and especially Beethoven represented for him as he struggled to emerge with his own artistic voice and to define and secure his unique position in music history.