Although Juan Domingo Peron's central role in Argentine history and the need for an unbiased assessment of his impact on his nation's cinema are beyond dispute, the existing scholarship on the subject is limited. In recent decades Argentina has witnessed a revival of serious film study, some of which has focused on the nation's classical movies and, in one case, on Peronism. None of this work has been translated into English, however.This is the first English-language book that offers an extensive assessment of Argentine cinema during first Peronism. It is also the first study in any language that concentrates systematically on the evolution of social attitudes reflected in Argentine movies throughout those years and that assesses the period's impact on subsequent filmmaking activity. By analyzing popular Argentine movies from this time through the prism of myth-second-order communication systems that present historically developed customs and attitudes as natural-the book traces the filmic construction of gender, criminality, race, the family, sports, and the military. It identifies in movies the development and evolution of mindsets and attitudes that may be construed as "Peronist." By framing its consideration of films from the Peron years in the context of earlier and later ones, it demonstrates that this period accelerates-and sometimes registers backward-looking responses to-earlier progressive mythic shifts, and it traces the development in the 1950s of a critical mindset that comes to fruition in the "new cinema" of the 1960s. Picturing Argentina: Myths, Movies, and the Peronist Vision is an important book for Latin American studies, film studies, and history collections.

The anthology of essays & some one-liners laid out in this book are nothing more than the author's perceptions on how he looks at things or wants people to believe what his out-look is though that may not always be true. They should not be construed of some-one trying to sermonize or push through with his opinion of things. They are not an expert's word though someone like an expert does not really exist at all. At times the author's ideas may confuse the reader to begin with but as they say great confusion leads to great awakening. The motive of the author is not to confuse the reader but to arise doubt only to be enlightened profusely. The essays though ostentatiously named "Golden Words" may not seem that golden to some, rather they may look at it as if old wine has been packaged in a new bottle which is what basically they are. The essays range from abstract philosophical issues to some contemporary real life issues & even though they are some body's perceptions, they are open to debate. The author claims to have taken the inspiration for these pieces from his life experiences at the same time laying no claim to living life the way these pieces are propounding. Hope they make for a good reading. The author can be reached at [email protected]

This timely intervention into composition studies presents a case for the need to teach all students a shared system of communication and logic based on the modern globalizing ideals of universality, neutrality, and empiricism. Based on a series of close readings of contemporary writing by Stanley Fish, Asao Inoue, Doug Downs and Elizabeth Wardle, Richard Rorty, Slavoj Zizek, and Steven Pinker, this book critiques recent arguments that traditional approaches to teaching writing, grammar, and argumentation foster marginalization, oppression, and the restriction of student agency. Instead, it argues that the best way to educate and empower a diverse global student body is to promote a mode of academic discourse dedicated to the impartial judgment of empirical facts communicated in an open and clear manner. It provides a critical analysis of core topics in composition studies, including the teaching of grammar; notions of objectivity and neutrality; empiricism and pragmatism; identity politics; and postmodernism. Aimed at graduate students and junior instructors in rhetoric and composition, as well as more seasoned scholars and program administrators, this polemical book provides an accessible staging of key debates that all writing instructors must grapple with.

How was Voltaire's legacy seen in France between 1830 and 1900? To what extent did the nineteenth century reinvent Voltaire? Viewed during these years through the distorting lens of the French Revolution, Voltaire was vilified and venerated in roughly equal measure: as an icon of republican anticlericalism on the one hand, and a deeply Christian reformer on the other. This wide-ranging study uses the rich sources of the Parisian periodical and daily press to examine the evolution of Voltaire's legacy as it was contested through caricature and statuary as much as through editions and criticism of his works.

This study examines how postcolonial landscapes and environmental issues are represented in fiction. Wright creates a provocative discourse in which the fields of postcolonial theory and ecocriticism are brought together.
Laura Wright explores the changes brought by colonialism and globalization as depicted in an array of international works of fiction in four thematically arranged chapters. She looks first at two traditional oral histories retold in modern novels, Zakes Mda's "The Heart of Redness "(South Africa) and Ngugi wa Thiong'o's "Petals of Blood" (Kenya), that deal with the potentially devastating effects of development, particularly through deforestation and the replacement of native flora with European varieties. Wright then uses J. M. Coetzee's "Disgrace" (South Africa), Yann Martel's "Life of Pi" (India and Canada), and Joy Williams's "The Quick and the Dead" (United States) to explore the use of animals as metaphors for subjugated groups of individuals. The third chapter deals with India's water crisis via Arundhati Roy's activism and her novel, "The God of Small Things." Finally, Wright looks at three novels--Flora Nwapa's "Efuru" (Nigeria), Keri Hulme's "The Bone People" (New Zealand), and Sindiwe Magona's "Mother to Mother" (South Africa)--that depict women's relationships to the land from which they have been dispossessed.
Throughout "Wilderness into Civilized Shapes," Wright rearticulates questions about the role of the writer of fiction as environmental activist and spokesperson, the connections between animal ethics and environmental responsibility, and the potential perpetuation of a neocolonial framework founded on western commodification and resource-based imperialism.

This volume seeks to investigate how humour translation has developed since the beginning of the 21st century, focusing in particular on new ways of communication. The authors, drawn from a range of countries, cultures and academic traditions, address and debate how today's globalised communication, media and new technologies are influencing and shaping the translation of humour. Examining both how humour translation exploits new means of communication and how the processes of humour translation may be challenged and enhanced by technologies, the chapters cover theoretical foundations and implications, and methodological practices and challenges. They include a description of current research or practice, and comments on possible future developments. The contributions interconnect around the issue of humour creation and translation in the 21st century, which can truly be labelled as the age of multimedia. Accessible and engaging, this is essential reading for advanced students and researchers in Translation Studies and Humour Studies.

Although there is a significant literature on the philosophy of Jacques Derrida, there are few analyses that address the deconstructive critique of phenomenology as it simultaneously plays across range of cultural productions including literature, painting, cinema, new media, and the structure of the university. Using the critical figures of "ghost" and "shadow"-and initiating a vocabulary of phantomenology-this book traces the implications of Derridean "spectrality" on the understanding of contemporary thought, culture, and experience.This study examines the interconnections of philosophy, art in its many forms, and the hauntology of Jacques Derrida. Exposure is explored primarily as exposure to the elemental weather (with culture serving as a lean-to); exposure in a photographic sense; being over-exposed to light; exposure to the certitude of death; and being exposed to all the possibilities of the world. Exposure, in sum, is a kind of necessary, dangerous, and affirmative openness.The book weaves together three threads in order to format an image of the contemporary exposure: 1) a critique of the philosophy of appearances, with phenomenology and its vexed relationship to idealism as the primary representative of this enterprise; 2) an analysis of cultural formations-literature, cinema, painting, the university, new media-that highlights the enigmatic necessity for learning to read a spectrality that, since the two cannot be separated, is both hauntological and historical; and 3) a questioning of the role of art-as semblance, reflection, and remains-that occurs within and alongside the space of philosophy and of the all the "posts-" in which people find themselves.Art is understood fundamentally as a spectral aesthetics, as a site that projects from an exposed place toward an exposed, and therefore open, future, from a workplace that testifies to the blast wind of obliteration, but also in that very testimony gives a place for ghosts to gather, to speak with each other and with humankind. Art, which installs itself in the very heart of the ancient dream of philosophy as its necessary companion, ensures that each phenomenon is always a phantasm and thus we can be assured that the apparitions will continue to speak in what Michel Serres's has called the "grotto of miracles." This book, then, enacts the slowness of a reading of spectrality that unfolds in the chiaroscuro of truth and illusion, philosophy and art, light and darkness.Scholars, students, and professional associations in philosophy (especially of the work of Derrida, Husserl, Heidegger, and Kant), literature, painting, cinema, new media, psychoanalysis, modernity, theories of the university, and interdisciplinary studies.

Sentient animals, machines, and robots abound in German literature and culture, but there has been surprisingly limited scholarship on non-human life forms in German studies. This volume extends interdisciplinary research in emotion studies to examine non-humans and the affective relationships between humans and non-humans in modern German cultural history. In recent years, fascination with emotions, developments in robotics, and the burgeoning of animal studies in and beyond the academy have given rise to questions about the nature of humanity. Using sources from the life sciences, literature, visual art, poetry, philosophy, and photography, this collection interrogates not animal or machine emotions per se, but rather uses animals and machines as lenses through which to investigate human emotions and the affective entanglements between humans and non-humans. The COVID-19 pandemic made us more keenly aware of the importance of both animals and new technologies in our daily lives, and this volume ultimately sheds light on the centrality of non-humans in the human emotional world and the possibilities that relationships with non-humans offer for enriching that world. Watch our talk with the editors Erika Quinn and Holly Yanacek here: https://youtu.be/RBMwXah_Om8

The late nineteenth and early twentieth centuries saw a great increase in the use of the printed word and the press by non-European actors to express and disseminate ideas and to participate in the intellectual life of both their home societies and a wider international context. This book examines the French-language writings of Ottoman and Algerian writers between 1890 and 1914.

"Extraordinarily rich and awesomely learned.... The complexity of its subject matter is here mastered in an exemplary fashion. The study offers detailed, concrete, and perceptive assessments of individual writers within a lucid and carefully balanced design.... As a work of striking originality as well as formidable yet lively scholarship,... Green's book will become a central, even classic, text for students of Renaissance poetry and of a cardinal topos in the history of criticism and hermeneutics." -From the citation for the award of the Harry Levin Prize of the American Comparative Literature Association, 1982 "An outstanding example of learning fully commanded and applied with uncommon perception, a lively sense of historical continuity, and, not least important, productive familiarity with modern literary theory. In its breadth of knowledge, the interplay of literary history and theory, the maturity of its judgments and the urbanity of its style, Professor Greene's study is a most distinguished achievement of American scholarship." -From the citation for the award of the Annual James Russell Lowell Prize, given by the Modern Language Association of America, 1983

For more than 200 years, Thomas Traherne's Centuries of Meditations was undiscovered and unpublished. The manuscript passed through many hands before finally being compiled into a book by bookseller and scholar BERTRAM DOBELL (1842-1914) in 1908. Centuries is a collection of poems written to express the rapture of life lived in accordance with God. Yet Dobell is careful to state that even though Traherne was a clergyman, there is plenty of beauty to be found in his poetry that does not require specific belief in Christianity or in God. Readers of many ages and persuasions will be touched by Traherne's passages on love and belonging.

W. H. Auden is perhaps the most important English language poet of the 20th century. He produced marvelous poems-even in his last days.However, critics and reviewers not only have not recognized the aesthetics of the poetry Auden wrote after 1965, but they have ignored or made prejudiced and disparaging remarks about it, thus diverting subsequent critical (and popular) attention from its remarkable virtues. The aim of W. H. Auden's Poetry: Mythos, Theory, and Practice is to clarify Auden's career-long interest in poetic theory and, above all, to show how his changing thoughts about poetry impelled him towards the production of the last three volumes of his verse.Because it links the poet's biographia literaria and his aesthetic vision, this book will appeal to poets as well as to students of writing-particularly those interested in the creative process and its correlation to artistic forms. Students of 20th-century American and British literature will find in these pages a comprehensive survey of Auden's thoughts about his art and the poetry of his predecessors as well as of his contemporaries. Teachers of Auden's works will appreciate the strong light such a survey casts on Auden's poetic practice. Engineers and architects, physicists and biologists, cultural critics, social scientists, philosophers, and especially Gestalt psychologists might well enjoy reading about the ways their fields have intersected and influenced the thinking of one of the twentieth century's most brilliant and courageous poets.

Notions of crisis have long charged the study of the European avant-garde and modernism, reflecting the often turbulent nature of their development. Throughout their history, the avant-garde and modernists have both confronted and instigated crises, be they economic or political, aesthetic or philosophical, collective or individual, local or global, short or perennial. The seventh volume in the series European Avant-Garde and Modernism Studies addresses the myriad ways in which the avant-garde and modernism have responded and related to crisis from the late nineteenth to the twenty-first century. How have Europe's avant-garde and modernist movements given aesthetic shape to their crisis-laden trajectory? Given the many different watershed moments the avant-garde and modernism have faced over the centuries, what common threads link the critical points of their development? Alternatively, what kinds of crises have their experimental practices and critical modes yielded? The volume assembles case studies reflecting upon these questions and more from across all areas of avant-garde and modernist activity, including visual art, literature, music, architecture, photography, theatre, performance, curatorial practice, fashion and design.

Disputing the claim that Algerian writing during the struggle against French colonial rule dealt almost exclusively with revolutionary themes, The Algerian New Novel shows how Algerian authors writing in French actively contributed to the experimental forms of the period, expressing a new age literarily as well as politically and culturally. Looking at canonical Algerian literature as part of the larger literary production in French during decolonization, Valerie K. Orlando considers how novels by Rachid Boudjedra, Mohammed Dib, Assia Djebar, Nabile Fares, Yamina Mechakra, and Kateb Yacine both influenced and were reflectors of the sociopolitical and cultural transformation that took place during this period in Algeria. Although their themes were rooted in Algeria, the avant-garde writing styles of these authors were influenced by early twentieth-century American modernists, the New Novelists of 1940s-50s France, and African American authors of the 1950s-60s. This complex mix of influences led Algerian writers to develop a unique modern literary aesthetic to express their world, a tradition of experimentation and fragmentation that still characterizes the work of contemporary Algerian francophone writers.

This multi-voiced volume offers a deep dive into the history, sociology and politics of the oldest South African university press.

In 2022 Wits University Press marked its centenary, making it the oldest, most established university press in sub-Saharan Africa. While in part modelled on scholarly publishers from the global North, it has had to contend with the constraints of working under global South conditions: marginalisation within the university, budgetary limitations, small local markets, unequal access to international sales channels, and the privileging of English language publishing over indigenous languages. But there were also opportunities, and this volume explores what the Press has achieved, and what its modes of reinvention might look like. In widening and deepening our understanding of the Press as an example of a global South scholarly publisher, this volume asks how publishing can contribute to a broader understanding of Southern knowledge production.

This multi-voiced volume showcases the history of the Press’s publishing activities over 100 years: from documenting its evolution through book covers and giving credence to some of the leading black intellectuals and writers of the early 20th century and the success of those works in spite of their authors suffering significant racial marginalisation, to the role of women both in publishing and the spaces afforded to women’s writing on the Press’s list. The collection concludes with essays by contemporary authors who detail not only their experiences of working with southern publishers, but also the politics and influences governing their decisions to choose the Press over a Northern publisher.

The collection shows the strategies deployed by the Press to professionalise Southern knowledge making, in the process demonstrating how university presses in the global South support the scholarly missions of their universities for both local and global audiences.

This book demonstrates that since the 1970s, British feminist cartoons and comics have played an important part in the Women's Movement in Britain. A key component of this has been humour. This aspect of feminist history in Britain has not previously been documented. The book questions why and how British feminists have used humour in comics form to present serious political messages. It also interrogates what the implications have been for the development of feminist cartoons and for the popularisation of feminism in Britain. The work responds to recent North American feminist comics scholarship that concentrates on North American autobiographical comics of trauma by women. This book highlights the relevance of humour and provides a comparative British perspective. The time frame is 1970 to 2019, chosen as representative of a significant historical period for the development of feminist cartoon and comics activity and of feminist theory and practice. Research methods include archival data collection, complemented by interviews with selected cartoonists. Visual and textual analysis of specific examples draws on literature from humour theory, comics studies and feminist theory. Examples are also considered as responses to the economic, social and political contexts in which they were produced.