Sonnets, chiefly on astronomy and the former planet Pluto.

21st Century Anthropology: A Reference Handbook highlights the most important topics, issues, questions, and debates any student obtaining a degree in the field of anthropology ought to have mastered for effectiveness in the 21st century. This two-volume set provides undergraduate majors with an authoritative reference source that serves their research needs with more detailed information than encyclopedia entries but in a clear, accessible style, devoid of jargon, unnecessary detail or density. Key Features- Emphasizes key curricular topics, making it useful for students researching for term papers, preparing for GREs, or considering topics for a senior thesis, graduate degree, or career.- Comprehensive, providing full coverage of key subthemes and subfields within the discipline, such as applied anthropology, archaeology and paleontology, sociocultural anthropology, evolution, linguistics, physical and biological anthropology, primate studies, and more.- Offers uniform chapter structure so students can easily locate key information, within these sections: Introduction, Theory, Methods, Applications, Comparison, Future Directions, Summary, Bibliography & Suggestions for Further Reading, and Cross References.- Available in print or electronically at SAGE Reference Online, providing students with convenient, easy access to its contents.

The Self and the Sonnet is an interdisciplinary study which considers the sonnet, a near eight hundred year old form, and looks at the historical meanderings and the popularity of the form among cultures that are far removed from the location of its origin in Italy. The book tracks the notion of the self from its Platonic beginnings to the Postmodern, using insights from Charles Taylor, Brian Morris and Calvin O. Schrag so as to work out a model of the self. Jan Patočka’s phenomenological notions of the self and Chaos Theory are important cohesive elements in the composition of this model. A limit point in Mathematics is a point that is not in the set around which all the points cluster. The book looks at the self from the limit points of the body, mind, world and language. It analyzes sonnets which predominantly show a tendency to one of these limit points. However, it keeps in mind the other limit points as possibilities of a comprehensive analysis. The motivation for this body of research comes primarily from the notion of the sonnet being a form that initially exists along with the epic as canonical writers of literary epics also write sonnets. The historic and narrative moment of self in sonnet form calls for a questioning of both the self and the sonnet. The book tries to address the questions: ‘What changes in the notion of self prompt the origin and persistence of the sonnet across cultures?’ and ‘Why and how is this form compatible with a self that is postmodern and global?’ The Anglo-American sonnet, for the most, is addressed but cultures and their attendant forms are also addressed when considering the sonnet. The Arabic zajal, the Persian ghazal, the Chinese sonnet and the Korean Sijo-sonnet are forms that are touched upon along with the Indian postcolonial versions like the forms of the sonnet in Modern Indian Languages such as Bangla, Gujarati and Marathi.

In Daniel Galef’s Imaginary Sonnets, a cast of people and objects from mythology, history, the news, and the quotidian parades through a variety of imaginative scenarios. In dialogues, dramatic monologues, satires, lamentations, eulogies, and execrations, the sonnets adopt perspectives ranging from the familiar to the novel to the twisty and surprising. Characters include not only widely known figures such as Cassandra, Pandora, St. Augustine, Byron, and Doris Day, but also obscure ones such as Henrique of Melacca, Emmett Till’s father, John Taurek, and—more startling—a salmon, a snowflake, and a pair of parallel lines. Imaginary Sonnets entertains and entrances with every turn of the page. PRAISE FOR IMAGINARY SONNETS: I love sonnet sequences, and Daniel Galef has written a rollicking collection that is alive with wit, intelligence, and wild imagination, as in the poem of unrequited love between two parallel lines. If you want to know what Cézanne has to say, not to mention Cassandra, Alcibiades, and “Parmenides to Doris Day,” then dig into this cornucopia of crazy, formal fun. — Barbara Hamby, author of Holoholo Daniel Galef’s sonnet cycle is a rare feat of empathy, wit, style, and (as the title hints) imagination. I’m thankful to have this book, in which the messy overlaps of life are somehow illuminated in work of astonishing, clear-eyed discipline. — Jack Pendarvis, author of Movie Stars Daniel Galef’s debut collection, Imaginary Sonnets, demonstrates his mastery of the form as well as his ability to reinvigorate it with wit and experimentation. These fourteen-line biographies and tales open up a world, largely drawn from literature, that your history books ignored and that you will enjoy. — A. M. Juster, author of Wonder and Wrath The sonnet is one nifty little container, isn’t it! Each of these poems contains its own tiny library—of books, sure, but life experiences, history . . . okay, everything, from Pandora (she of the box full of imps) to Casey (he of the Mudville Nine) and beyond. There’s even a taco talking to a chalupa, and I’m not making that up. Nobody could make that up except Daniel Galef. — David Kirby, author of Help Me, Information ABOUT THE AUTHOR: Daniel Galef was born and raised in Oxford, Mississippi, where he spent his afternoons on the veranda of Square Books. After studying philosophy and classics at McGill University in Montreal, he received his MFA from the fiction program at Florida State University in Tallahassee. His poetry covers a diverse range of styles and genres, including light verse (Light Quarterly, the Saturday Evening Post, the Washington Post Style Invitational), children’s literature (Spider, the Caterpillar, School Magazine), and serious formal poetry (Able Muse, Atlanta Review, the Lyric). Besides poems, he also writes fiction (Indiana Review, Juked, the Best Small Fictions anthology), nonfiction (Word Ways, Working Classicists, the Journal of Compressed Creative Arts), humor and satire (American Bystander, NationalLampoon.com, the Journal of Irreproducible Results), and plays (Players’ Theatre Montréal, Théâtre MainLine Theatre). In 2022 he placed second in the New Yorker cartoon caption contest. This is his first book.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.