By George Pelecanos
Nick Stefanos has given up his activity in revenues to have a tendency bar on the Spot, the place beverages and ladies are either a section too simply on hand, and the regimen is beginning to suppose as dead-end as his final gig. yet issues are approximately to alter. First, his high-school pal Billy Goodrich asks him to discover his spouse April, who he says left him for small-time crime boss Joey DiGeordano. actually, April has taken off with hog farmer/bondage freak Tommy Crane and, it seems, with $200,000 of DiGeordano kin cash. There are strong enemies on her path -- and now on Nick's path, too.
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Additional info for Nick's Trip (Nick Stefanos, Book 2)
Lessons of Romanticism: A Critical Companion. Eds. Thomas Pfau and Robert F. Gleckner. Durham: Duke UP, 1998. 41–54. Print. Schelling, Friedrich Wilhelm Joseph. Schelling. Comp. and ed. Michaela Boenke. München: Diederichs, 1995. Print. Schlegel, Friedrich. Kritische Friedrich-Schlegel-Ausgabe. Ed. Ernst Behler. 35 vols. Paderborn: Schöningh, 1958ff. [KFSA]. Print. Seyhan, Azade. Representation and Its Discontents: The Critical Legacy of German Romanticism. Berkeley: U of California P, 1992.
The Romantic Age. 1955. A History of Modern Criticism 1750–1950. Vol. 2. London: Cape, 1970. Print. 2 History and Poetry Fundamental Aspects and Effects of the Relations between Literature and Philosophy in English Romanticism Eric Dayre This chapter begins with some of the original founding expressions of Romanticism, key terms, and definitions of poetry, such as “emotion recol lected in tranquillity,” “willing suspension of disbelief,” and their origin in philosophical thought. In doing so, I refer to the philosophical tradition that is present and modified in Romantic thought.
It thus grasps the Idea not as something transcendent, but as the very process of its self-reflexive production. (27–28) Or with Marc Redfield’s of 1998: Building on the work of Walter Benjamin and Maurice Blanchot,7 Lacoue-Labarthe and Nancy analyze the philosophical structure of the idea of the literary text as a “self-conscious” text, an idea now commonplace but which emerged fully for the first time in the work of Romantic writers, as an aspect of the Romantic development or elaboration of modern aesthetics.