Best Selling Books by David Morton

"The Sonnet, to-Day--and Yesterday" is an insightful exploration of one of literature''s most enduring and disciplined poetic forms. Written by David Morton, a noted poet and scholar, this work provides a comprehensive overview of the sonnet''s historical development and its continued relevance in the early 20th century. Morton examines the architectural beauty of the fourteen-line structure, tracing its journey from classical origins to the modern interpretations of his era. The volume serves as both a critical study and a tribute to the form''s versatility. By comparing traditional techniques with contemporary innovations, Morton illustrates how the sonnet has adapted to convey a wide range of human emotions and intellectual themes. Readers will find a deep appreciation for the technical mastery required to balance rhyme, meter, and thought within such a compact space. This work is an essential resource for students of prosody, aspiring poets, and lovers of verse who wish to understand the persistent appeal of the sonnet. It highlights the form''s unique ability to capture profound moments of insight, ensuring its place as a cornerstone of English literature. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is a story of life in a large lake and of Morris the Mirror Carp who is now old, and happy to live out the rest of his days grazing on the gravel lake-bed, looking for cheese. His peace is disturbed when Queen Thea, a Tench, asks him to search the lake and find out what is happening to the fish, as the population is getting smaller, and if a war is about to start with the Pikes who are suspected of taking more food than they are allowed. The Queen insists her royal bodyguard, a Japanese Koi carp called Kenzo, goes with him. However, the royal princess, Tina, tags along as well and their adventure begins. Morris confronts the King of the Pike''s, Gaspard, but he is only a puppet king now. His kingdom is being run by his two sons who are suspected of planning a take-over of the lake. Can Morris persuade Gaspard to join them and find out who is taking the fish? ufeff Join Morris and his friends, and discover who is responsible for the unrest in Lily Lake, and if Morris will ever find the right cheese.

We consider portfolio allocation in which the underlying investment instruments are hedge funds. Benchmarks and conditional-value-at-risk motivate a family of utility functions involving the probability of outperforming a benchmark and expected shortfall from another benchmark. Non-normal return vectors with prescribed marginal distributions and correlation structure are modeled and simulated using the normal-to-anything method. A Monte Carlo procedure is used to obtain, and establish the quality of, a solution to the associated portfolio optimization model. Computational results are presented on a problem in which we construct a fund of 13 CSFB/Tremont hedge-fund indices.

This dissertation draws on the artistic traditions of seventeenth-century Baroque and nineteenth-century Decadence in seeking to formulate an analytical vocabulary for the aesthetics of digitally-animated spectacle in contemporary cinema. The dissertation seeks to critique binary antinomies of narrative vs. spectacle, and instead propose a concept of narrativized spectacle whereby digital visual effects have brought about a profound liberation in cinemas capacity to envision narrative story-worlds, and depict their workings. It takes the contemporary Hollywood blockbuster as its chief subject for this inquiry, insofar as this is the filmmaking idiom most given to the embrace and deployment of digitally-liberated spectacle, and one which is frequently assumed to be largely bereft of formal and narrative sophistication. This dissertation argues, on the contrary, that the Hollywood blockbusters spectacular nature in fact bears complex utopian implications, and that the crudities which occasionally mar the form in practice are more the result of not being imaginatively hyperbolic enough, rather than being too much so. The dissertations invocation of Baroque and Decadent aesthetics provides a conceptual apparatus for describing this contemporary cinematic idiom of digitized blockbuster spectacle. It identifies a Baroque aesthetic in such stylistic traits as verticality, profusion, and the sublime, as well as narrative themes of transgression of limits, reverence before imposing scale and grandeur, and refusal to ennoble passivity and martyrdom. Likewise, it identifies Decadent aesthetics in stylistics which privilege the gaze, the enclosed and aestheticized space, and formal ritual, as well as narratives ordered around principles of perversity, self-consciousness, and interconnectedness. The ultimate intervention which this dissertation seeks to make, however, is to demonstrate the centrality rather than marginality of animation to cinema, insofar as cel animation has always possessed the graphic freedom to realize any imaginative vision, which digital effects have only recently extended to live-action cinema. All of the aesthetics of Baroque and Decadent blockbuster spectacle that the dissertation traces could be and, the dissertation seeks to show, were deployed in the animated feature years in advance of the liberation of representation that digital effects would bring to live-action.