Includes works first published during the period 1933-36. Sir James G. Frazer (1854-1941) is famous as the author of "The Golden Bough."

This volume is dedicated to Wittgenstein's remarks on Frazer's The Golden Bough and represents a collaboration of scholars within philosophy and the study of religion. For the first time, specialized investigations of the philological and philosophical aspects Wittgenstein's manuscripts are combined with the outlook of philosophical anthropology and ritual studies. In the first section of the book Wittgenstein's remarks are presented and discussed in light of his Nachlass and relevant lecture-notes by G.E. Moore, reproduced in this book as facsimiles. The second section deals with the cultural and philosophical background of the early remarks, while the third section focuses specifically on the general problem of understanding as being a main issue of these remarks. The fourth section concentrates on the philosophical development characteristic of the later remarks. Finally, the fifth section reviews Wittgenstein's opposition to Frazer, and the ramifications of his remarks, in light of ritual studies. The book is intended for scholars in philosophy and religious studies, as well as for the general reader with an academic interest in philosophy and the philosophy of religion.

Like its companion volume, "The Encyclopedia of Science Fiction", this massive reference of 4,000 entries covers all aspects of fantasy, from literature to art.

Despairing of his volatile, unstable wife, T. S. Eliot, at 44, resolves to put an end to the torture of his eighteen-year marriage.He breaks free from September 1932 by becoming Norton Lecturer at Harvard. His lectures will be published as The Use of Poetry and the Use of Criticism (1933). He also delivers the Page-Barbour Lectures at Virginia (After Strange Gods, 1934). At Christmas he visits Emily Hale, to whom he is 'obviously devoted'. He gives talks all over - New York, California, Missouri, Minnesota, Chicago - and the letters describing encounters with F. Scott Fitzgerald, Edmund Wilson and Marianne Moore ('a real Gillette blade') brim with gossip. High points include the première at Vassar College of his comic melodrama Sweeney Agonistes (1932). The year 'was the happiest I can ever remember in my life . . . successful and amusing.'Returning home, he hides out in the country while making known to Vivien his decision to leave her. But he is exasperated when she buries herself in denial: she will not accept a Deed of Separation. The close of 1933 is lifted when Eliot 'breaks into Show Business'. He is commissioned to write a 'mammoth Pageant': The Rock. This collaborative enterprise will be the proving-ground for the choric triumph of Murder in the Cathedral (1935).