Bøger af Philip Armstrong

Disturbing Nature in Narrative Literature identifies and analyses literary encounters with unexpected, disconcerting, and unsettling aspects of the natural world. It includes in-depth discussion of a wide range of literary texts from the British, American, and European literary traditions, and from the Classical period to today.

Exhausted from the day's trials, Nath collapses into sleep in his New York apartment, only to awaken in the extraordinary world of Plesia. This planet, hailed as the most splendid in the cosmos, is home to 740 eternally youthful inhabitants who, though appearing to be mere eight-year-olds, have thrived on Plesia for millennia. Governed by a benevolent king from a neighboring realm, Plesia is a utopia where every need is seamlessly met.Amidst this perfection, Nath discovers his heritage as a royal prince of Plesia and that his arrival is serendipitously timed. The peaceful planet faces a grave threat, and it is Nath whom the king and the Plesians need. As Nath joins forces with the king and a valiant group of Plesian allies, he must confront perils and navigate the pernicious disease known as Peur et Haine. His journey is one of courage, friendship, and destiny as he rises to defend the idyllic world that is now his home.

Theseus and the Minotaur is a tragic drama in one act (about 45 minutes in duration) suitable for high school students or young adult theater. Theseus is a brave hero. He carries a great sword. He aspires to be King of Athens. Yet he is judged poorly for being the illegitimate son of the sovereign, and is labelled as unfit for kingship. He knows he can only achieve his dreams by undermining the legitimacy of the monarch and the political stability of the entire region, and by turning to treachery. He says he has joined the Athenian youths on their way to the Minotaur to rescue them from their appointed fate, yet there is deceit in his eye. He says he has rescued Princess Ariadne from a Dionysian cult because he loves her, yet now he manipulates her to be able to enter the labyrinth carrying arms. The Athenian youths sense his duplicity. They carry a great responsibility. They must offer themselves as sacrifice to the Minotaur so as to sustain the peace accord between Athens and Crete and thus enable their families and villages to live in peace and honour. But now that Theseus has come among them they are confused. They are overjoyed at his presence, yet also they fear it. They want to be saved from their terrible duty, yet also they know they must fulfil this burden for the sake of millions. They realise they will be offered freedom if the terrible Minotaur is slain, yet also they realise the peace accord will be undermined and there will be war. They will be complicit to the unleashing of terrible atrocities. Never will they be able to show themselves to their families and friends again. They will live, yet in terrible disgrace and shame. They ask themselves over and over again: What should they do?

The young man stood at the top of the Großer Beerberg as if a golden statue of ancient days. With bare feet fixed to the ground, the plaid trekker's shirt cast casually aside, and the sun-bleached hair tied out of the way in a pony-tail, he drew his breath, raised the bell of his trumpet, and played his dramatic music.

The poems in Sinking Lessons portray the vitality of a world full of things and beings we too often disregard, using language that vibrates in harmony with the lively tales it tells-from small, everyday events to stories of shipwrecks and strandings, resurrections and reanimations, arctic adventures and descents into the underworld. The cast of characters includes members of the poet's family alongside heroes from myth and literature, such as Orpheus, Scheherazade, and Frankenstein's Creature. And crowding in upon these, at all times, a multitude of non-human protagonists: sun and stars, wind and water, mud and sand, body fluids, decaying matter, chemicals organic and inorganic, and a great many fishes and birds and beasts. Sinking Lessons is the first collection of poetry from Philip Armstrong, winner of the 2019 Kathleen Grattan Poetry Award.

Significantly advancing our notion of what constitutes a network, Philip Armstrong proposes a rethinking of political public space that specifically separates networks from the current popular discussion of globalization and information technology.

Focuses on the complex and fruitful relationship between Shakespeare's texts and psychoanalytic theory.

A unique exploration of the biology and history of sheep, as well as their place in literature and the other creative arts.

Describes measures that were taken to deal with the post-war slump and the ways in which capitalist economies achieved growth and affluence in the 1950s and 1960s. The book then shows how this boom was undermined by inflation and falling profits, and how high unemployment ensued.