Please note: This is a key takeaways and analysis of the book and not the original book. Start Publishing Notes´ Summary, Analysis, and Review of Amor Towles´s A Gentleman in Moscow: A Novel, includes a summary of the book, review, analysis & key takeaways, and a detailed ´´About the Author´´ section. A Gentleman in Moscow by Amor Towles, is a novel about Count Alexander Ilyich Rostov, a Russian aristocrat who is condemned by Communists to spend the rest of his life confined in the Metropol, the capital´s most glamorous hotel. The story opens on his trial in 1922, where he´s shown leniency as a reward for having written a revolutionary poem that pre-dated the Russian Revolution. The only catch? If Rostov ever leaves the hotel, he will be executed. The novel unfolds over the course of the 32 years that Rostov spends under house arrest. The first thing to know about Count Rostov, is that he didn´t write the poem, his best friend Mishka did. The pair conspired to publish it under Rostov´s name because, at the time, Mishka - who was not an aristocrat like Rostov - would have been murdered by the czar´s regime for dissonance. Rostov, in sharp contrast, was then a member of the protected class. By the time the revolution began in 1918, Rostov was living in Paris. In the face of certain danger, he returned to Russia to help his grandmother shutter her estate. When that task was complete, he took up residence in one of the Metropol´s finest suites. 1. Language: English. Narrator: Michael Guilboe. Audio sample: http://samples.audible.de/bk/acx0/092838/bk_acx0_092838_sample.mp3. Digital audiobook in aax.
A Gentleman in Moscow by Amor Towles is the story of a Russian aristocrat-turned-waiter who lives 32 years of his life under house arrest at the Hotel Metropol in Moscow. Set in post-revolutionary Russia, the novel follows its protagonist, Count Alexander Ilyich Rostov, as he develops new friendships, family, and loves, all while confined within the walls of the Metropol. In 1922, in the wake of the Russian Revolution, Rostov, originally a gentleman from Russia´s Nizhny Novgorod province, is deemed a threat to the Communist Party and sentenced to house arrest at the hotel where he has been living in luxury. The party is suspicious of Count Rostov, who left Russia after the tsar´s execution in 1918, but returned four years later. What saves Rostov from being executed is a single poem published in 1913 espousing revolutionary ideals, to which he claims authorship. Please note: This is a summary, analysis & review of the book and not the original book. 1. Language: English. Narrator: Dwight Equitz. Audio sample: http://samples.audible.de/bk/acx0/072732/bk_acx0_072732_sample.mp3. Digital audiobook in aax.
An anecdote-fueled account of the most unusual religious movements in America today, from witch covens to snake handlers to atheists to UFO cults. Hallman visits each in a kind of adventure, telling their stories in a style that blends mini-history and first hand reportage. He is accompanied by the ghost of his patron saint, William James, the author of perhaps the most influential book ever written on religion, The Varieties of Religious Experience. James´s own story is woven through the book (and James wisdom infuses it), providing a fascinating historical and biographical counterpoint to the intrepid and hugely talented young Mr. Hallman. James argued that we could never do without religion, and wrote that the best way to understand the religious spirit was to look at its most exaggerated forms. But not even James could have imagined what the changes of the last century would do to our conception of God. Hallman´s journeys and analysis provides a vivid collective portrait of American religion in all its diversity and color. 1. Language: English. Narrator: Charles Carroll. Audio sample: http://samples.audible.de/bk/acx0/000449/bk_acx0_000449_sample.mp3. Digital audiobook in aax.
Russia´s literary world is shaken to its foundations when a mysterious gentleman - a professor of black magic - arrives in Moscow, accompanied by a bizarre retinue of servants. It soon becomes clear that he is the Devil himself, come to wreak havoc among the cultural elite of a disbelieving capital. But the Devil´s mission quickly becomes entangled with the fate of the Master - a man who has turned his back on his former life and taken refuge in a lunatic asylum - and his past lover, Margarita. Both a satirical romp and a daring analysis of the nature of good and evil, innocence and guilt, ´´The Master and Margarita´´ is the crowning achievement of one of the greatest Russian writers of the twentieth century.
Shakespeare´s Schoolroom places moments of considerable emotional power in Shakespeare´s poetry-portraits of what his contemporaries called ´´the passions´´-alongside the discursive and material practices of sixteenth-century English pedagogy. Humanist training in Latin grammar and rhetorical facility was designed to intervene in social reproduction, to sort out which differences between bodies (male and female) and groups (aristocrats, the middling sort, and those below) were necessary to producing proper English ´´gentlemen.´´ But the method adopted by Lynn Enterline in this book uncovers a rather different story from the one schoolmasters invented to promote the social efficacy of their pedagogical innovations. Beginning with the observation that Shakespeare frequently reengaged school techniques through the voices of those it excluded (particularly women), Enterline shows that when his portraits of ´´love´´ and ´´woe´´ betray their institutional origins, they reveal both the cost of a Latin education as well as the contradictory conditions of genteel masculinity in sixteenth-century Britain. In contrast to attempts to explain early modern emotion in relation to medical discourse, Enterline uncovers the crucial role that rhetoric and the texts of the classical past play in Shakespeare´s passions. She relies throughout on the axiom that rhetoric has two branches that continuously interact: tropological (requiring formal literary analysis) and transactional (requiring social and historical analysis). Each chapter moves between grammar school archives and literary canon, using linguistic, rhetorical, and literary detail to illustrate the significant difference between what humanists claimed their methods would achieve and what the texts of at least one former schoolboy reveal about the institution´s unintended literary and social consequences. When Shakespeare creates the convincing effects of character and emotion for which he is so often singled out as a precursor of ´´modern´´ subjectivity, he signals his debt to the Latin institution that granted him the cultural capital of an early modern gentleman precisely when undercutting the socially normative categories schoolmasters invoked as their educational goal.