Richard J. Hill – författare

Robert Louis Stevenson and the Pictorial Text explores the genesis, production and the critical appreciation of the illustrations to the fiction of Robert Louis Stevenson. Stevenson is one of the most copied and interpreted authors of the late nineteenth century, especially his novels Treasure Island and Strange Case of Dr Jekyll and Mr Hyde. These interpretations began with the illustration of his texts in their early editions, often with Stevenson’s express consent, and this book traces Stevenson’s understanding and critical responses to the artists employed to illustrate his texts. In doing so, it attempts to position Stevenson as an important thinker and writer on the subject of illustrated literature, and on the marriage of literature and visual arts, at a moment preceding the dawn of cinema, and the rejection of such popular tropes by modernist writers of the early twentieth century.

Robert Louis Stevenson and the Pictorial Text explores the genesis, production and the critical appreciation of the illustrations to the fiction of Robert Louis Stevenson. Stevenson is one of the most copied and interpreted authors of the late nineteenth century, especially his novels Treasure Island and Strange Case of Dr Jekyll and Mr Hyde. These interpretations began with the illustration of his texts in their early editions, often with Stevenson’s express consent, and this book traces Stevenson’s understanding and critical responses to the artists employed to illustrate his texts. In doing so, it attempts to position Stevenson as an important thinker and writer on the subject of illustrated literature, and on the marriage of literature and visual arts, at a moment preceding the dawn of cinema, and the rejection of such popular tropes by modernist writers of the early twentieth century.

In his travel narrative Travels with a Donkey in the Cevennes (1879), Robert Louis Stevenson declares, "I travel not to go anywhere, but to go. I travel for travel''s sake. The great affair is to move." Taking up the concepts of time, place, and memory, the contributors to this collection explore in what ways the dynamic view of life suggested by this quotation permeates Stevenson''s work. The essays adopt a wide variety of critical approaches, including post-colonial theory, post-structuralism, new historicism, art history, and philosophy, making use of the vast array of literary materials that Stevenson left across a global journey that began in Scotland in 1850 and ended in Samoa in 1894. These range from travel journals, letters, and classic literary staples such as Treasure Island and The Strange Case of Dr. Jekyll and Mr. Hyde, to rarely read masterpieces such as The Master of Ballantrae or The Ebb-Tide. While much recent scholarship on Stevenson foregrounds geography, the present volume also examines the theme of movement across memory, time, and generic boundaries. Taken together, the essays offer a view of Stevenson that demonstrates how the protean nature of his literary output reflects the radical developments in science, technology, and culture that characterized the age in which he lived.

In his travel narrative Travels with a Donkey in the Cevennes (1879), Robert Louis Stevenson declares, "I travel not to go anywhere, but to go. I travel for travel''s sake. The great affair is to move." Taking up the concepts of time, place, and memory, the contributors to this collection explore in what ways the dynamic view of life suggested by this quotation permeates Stevenson''s work. The essays adopt a wide variety of critical approaches, including post-colonial theory, post-structuralism, new historicism, art history, and philosophy, making use of the vast array of literary materials that Stevenson left across a global journey that began in Scotland in 1850 and ended in Samoa in 1894. These range from travel journals, letters, and classic literary staples such as Treasure Island and The Strange Case of Dr. Jekyll and Mr. Hyde, to rarely read masterpieces such as The Master of Ballantrae or The Ebb-Tide. While much recent scholarship on Stevenson foregrounds geography, the present volume also examines the theme of movement across memory, time, and generic boundaries. Taken together, the essays offer a view of Stevenson that demonstrates how the protean nature of his literary output reflects the radical developments in science, technology, and culture that characterized the age in which he lived.

A Glimpse of the Chosen challenges readers to ponder the Bibles teaching of the doctrine of election. The writer begins by giving a small glimpse into the domain of the absolute holiness of God, his amazing power, his righteousness, and his love.

God, who is the ultimate genius, has a divine purpose for everything that occurs in time and space, both good and evil, in order to ultimately reveal the amazing riches of his glory.

A Glimpse of the Chosen unfolds a glimpse of Gods work in calling people to him, beginning in the Garden of Eden, continuing throughout history, and ending with the kingdom of Jesus Christ.

The writer demonstrates that we are fallen creatures with a distorted knowledge of life. We can take comfort in the fact that no matter how things appear, God is in control and has a purpose for every human being, both saved and lost, that he creates.

A Glimpse of Romans answers lifes most important question: how can a sinful human being be forever right with a holy god? The answer is found in Gods righteousness revealed and received. The highlight of the book is Pauls use in chapters one and eight of the Greek word dikaiosunerighteousness. It is the key that unlocks the marvelous grace of God.