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Books > Reference & Interdisciplinary
Defining Deutschtum: Political Ideology, German Identity, and
Music-Critical Discourse in Liberal Vienna offers a nuanced look at
the intersection of music, cultural identity, and political
ideology in late-nineteenth-century Vienna. Drawing on an extensive
selection of writings in the city's political press,
correspondence, archival documents, and a large body of recent
scholarship in late Habsburg cultural and political history, author
David Brodbeck argues that Vienna's music critics were important
agents in the public sphere whose writings gave voice to distinct,
sometimes competing ideological positions. These conflicting
positions are exemplified especially well in their critical
writings about the music of three notable composers of the day who
were Austrian citizens but not ethnic Germans: Carl Goldmark, a Jew
from German West Hungary, and the Czechs Bed?ich Smetana and
Antonin Dvo?ak.
Often at stake in the critical discourse was the question of who
and what could be deemed "German" in the multinational Austrian
state. For critics such as Eduard Hanslick and Ludwig Speidel,
traditional German liberals who came of age in the years around
1848, "Germanness" was an attribute that could be earned by any
ambitious bourgeois-including Jews and those of non-German
nationality-by embracing German cultural values. The more
nationally inflected liberalism evident in the writings of Theodor
Helm, with its particularist rhetoric of German national property
in a time of Czech gains at German expense, was typical of those in
the next generation, educated during the 1860s. The radical student
politics of the 1880s, with its embrace of racialist antisemitism
and irredentist German nationalism, just as surely shaped the
discourse of certain young Wagnerian critics who emerged at the end
of the century. This body of music-critical writing reveals a
continuum of exclusivity, from a conception of Germanness rooted in
social class and cultural elitism to one based in blood.
Brodbeck neatly counters decades of musicological scholarship and
offers a unique insight into the diverse ways in which educated
German Austrians conceived of Germanness in music and understood
their relationship to their non-German fellow citizens. Defining
Deutschtum is sure to be an essential text for scholars of music
history, cultural studies, and late 19th century Central European
culture and society."
Artificial intelligence (AI) is often discussed as something
extraordinary, a dream-or a nightmare-that awakens metaphysical
questions on human life. Yet far from a distant technology of the
future, the true power of AI lies in its subtle revolution of
ordinary life. From voice assistants like Siri to natural language
processors, AI technologies use cultural biases and modern
psychology to fit specific characteristics of how users perceive
and navigate the external world, thereby projecting the illusion of
intelligence. Integrating media studies, science and technology
studies, and social psychology, Deceitful Media examines the rise
of artificial intelligence throughout history and exposes the very
human fallacies behind this technology. Focusing specifically on
communicative AIs, Natale argues that what we call "AI" is not a
form of intelligence but rather a reflection of the human user.
Using the term "banal deception," he reveals that deception forms
the basis of all human-computer interactions rooted in AI
technologies, as technologies like voice assistants utilize the
dynamics of projection and stereotyping as a means for aligning
with our existing habits and social conventions. By exploiting the
human instinct to connect, AI reveals our collective
vulnerabilities to deception, showing that what machines are
primarily changing is not other technology but ourselves as humans.
Deceitful Media illustrates how AI has continued a tradition of
technologies that mobilize our liability to deception and shows
that only by better understanding our vulnerabilities to deception
can we become more sophisticated consumers of interactive media.
Americans often look back on Paris between the world wars as a
charming escape from the enduring inequalities and reactionary
politics of the United States. In this bold and original study,
Brooke Blower shows that nothing could be further from the truth.
She reveals the breadth of American activities in the capital, the
lessons visitors drew from their stay, and the passionate responses
they elicited from others. For many sojourners-not just for the
most famous expatriate artists and writers- Paris served as an
important crossroads, a place where Americans reimagined their
position in the world and grappled with what it meant to be
American in the new century, even as they came up against
conflicting interpretations of American power by others.
Interwar Paris may have been a capital of the arts, notorious for
its pleasures, but it was also smoldering with radical and
reactionary plots, suffused with noise, filth, and chaos, teeming
with immigrants and refugees, communist rioters, fascism admirers,
overzealous police, and obnoxious tourists. Sketching Americans'
place in this evocative landscape, Blower shows how arrivals were
drawn into the capital's battles, both wittingly and unwittingly.
Americans in Paris found themselves on the front lines of an
emerging culture of political engagements-a transatlantic matrix of
causes and connections, which encompassed debates about
"Americanization" and "anti-American" protests during the
Sacco-Vanzetti affair as well as a host of other international
incidents. Blower carefully depicts how these controversies and a
backdrop of polarized European politics honed Americans' political
stances and sense of national distinctiveness.
A model of urban, transnational history, Becoming Americans in
Paris offers a nuanced portrait of how Americans helped to shape
the cultural politics of interwar Paris, and, at the same time, how
Paris helped to shape modern American political culture.
In September of 2010, the Daily Mail Reporter announced
"Anti-immigration party formed from skinhead movement seizes
balance of power in Sweden." A politics of skinhead protest,
expressed through White Power Music and an explicitly nationalistic
subgenre known as Viking Rock, has relied on its music to voice
opposition to immigration and multiculturism. Often labeled
"neo-Nazis" or "right-wing extremists," these actors shook
political establishments throughout Sweden, Denmark, and Norway
during the 1980s and 1990s by rallying around white power music and
skinhead subculture. More recently, however, these groups
methodically revised their presentation in an effort to refashion
themselves as upstanding, intelligent champions of love and human
diversity, and once again using music to do so. In Lions of the
North: Sounds of the New Nordic Radical Nationalism, author
Benjamin Teitelbaum explores this transformation of anti-immigrant,
anti-liberal activism in the Nordic countries as it manifests in
thought and sound. As his fieldwork in Sweden overlapped with
Anders Behring Breivik's attacks in 2011, Teitelbaum observed the
radical nationalist movement at a particularly sensitive moment.
Offering a rare ethnographic glimpse into controversial and
secretive political movements, Lions of the North investigates
changes in the music nationalists make and patronize, reading their
surprising new music styles as attempts to escape stereotypes and
fashion a new image for themselves. Teitelbaum's work reveals
organized opposition to immigration and multiculturalism in
Scandinavia to be a scene in flux, populated by individuals with
diverse understandings of themselves, their cause, and the
significance of music. Ultimately, he uncovers the ways in which
nationalists use music to frame themselves as agents of justice, an
image that is helping to propel these actors to unprecedented
success in societies often considered the most tolerant in the
world. A timely and powerful work of interdisciplinary
ethnomusicology, Lions of the North will appeal to a wide audience,
from scholars in the humanities to those in political science.
As Oliver Richmond explains, there is a level to peacemaking that
operates in the realm of dialogue, declarations, symbols and
rituals. But after all this pomp and circumstance is where the
reality of security, development, politics, economics, identity,
and culture figure in; conflict, cooperation, and reconciliation
are at their most vivid at the local scale. Thus local peace
operations are crucial to maintaining order on the ground even in
the most violent contexts. However, as Richmond argues, such local
capacity to build peace from the inside is generally left
unrecognized, and it has been largely ignored in the policy and
scholarly literature on peacebuilding. In Peace and Political
Order, Richmond looks at peace processes as they scale up from
local to transnational efforts to consider how to build a lasting
and productive peace. He takes a comparative and expansive look at
peace efforts in conflict situations in countries around the world
to consider what local voices might suggest about the inadequacy of
peace processes engineered at the international level. As well, he
explores how local workers act to modify or resist peace processes
headed by international NGOs, and to what degree local actors have
enjoyed success in the peace process (and how they have affected
the international peace process).
The H H Harlow Pickle Company has appeared in the small town of
Link Lake, using heavy-handed tactics to force family farmers to
either farm the Harlow way or lose their biggest customer - and,
possibly, their land.
Why does the Mona Lisa have an uneven smile? Was Picasso's
Demoiselles d'Avignon an exploration of Satanism? Why did
Michelangelo depict so many left-handed archers? Why did the
British Queen look so different when Annie Liebowitz lit her from
her left side in a recent official portrait? The answer to all
these questions lies in a hidden symbolic language in the visual
arts: that of the perceived differences between the left and right
sides of the body. It is a symbolism that has been interpreted by
artists through the centuries, and that can be uncovered in many of
our greatest masterpieces, but that has been long forgotten about
or misunderstood by those concerned with the history of art and the
human body. The Sinister Side reveals the key, and sheds new light
on some of the greatest art from before the Renaissance to the
present day. Traditionally, in almost every culture and religion,
the left side has been regarded as inferior - evil, weak, worldly,
feminine - while the right is good, strong, spiritual and male. But
starting in the Renaissance, this hierarchy was questioned and
visualised as never before. The left side, in part because of the
presence of the heart, became the side that represented authentic
human feelings, especially love. By the late nineteenth century,
with the rise of interest in the occult and in spiritualism, the
left side had become associated with the taboo and with the
unconscious. Exploring how works of art reflect our changing
cultural ideas about the natural world, human nature, and the mind,
James Halls'Sinister Side is the first book to detail the richness
and subtlety of left-right symbolism in art, and to show how it was
a catalyst for some of the greatest works of visual art from
Botticelli and Van Eyck to Vermeer and Dali.
This volume of essays explores the long-unstudied relationship
between religion and human security throughout the world. The 1950s
marked the beginning of a period of extraordinary religious
revival, during which religious political-parties and
non-governmental organizations gained power around the globe. Until
now, there has been little systematic study of the impact that this
phenomenon has had on human welfare, except of a relationship
between religious revival to violence. The authors of these essays
show that religion can have positive as well as negative effects on
human wellbeing. They address a number of crucial questions about
the relationship between religion and human security: Under what
circumstances do religiously motivated actors tend to advance human
welfare, and under what circumstances do they tend to threaten it?
Are members of some religious groups more likely to engage in
welfare-enhancing behavior than in others? Do certain state
policies tend to promote security-enhancing behavior among
religious groups while other policies tend to promote
security-threatening ones? In cases where religious actors are
harming the welfare of a population, what responses could eliminate
that threat without replacing it with another? Religion and Human
Security shows that many states tend to underestimate the power of
religious organizations as purveyors of human security. Governments
overlook both the importance of human security to their populations
and the religious groups who could act as allies in securing the
welfare of their people. This volume offers a rich variety of
theoretical perspectives on the nuanced relationship between
religion and human security. Through case studies ranging from
Turkey, Egypt, and Pakistan, to the United States, Northern
Ireland, and Zimbabwe, it provides important suggestions to policy
makers of how to begin factoring the influence of religion into
their evaluation of a population's human security and into programs
designed to improve human security around the globe.
Digital Dilemmas is a groundbreaking ethnographic, mixed method
approach to understanding dynamics of power and resistance as they
are played out around the future of the internet. M. I. Franklin
looks at the way that publics, governments, and multilateral
institutions are being redefined and reinvented in digital settings
that are ubiquitous and yet controlled by a relative few. Franklin
does this through three original and wide-ranging case studies that
get at the way that computer-mediated power relations play out "on
the ground" through a mixture of overlapping online and offline
activity, at personal, community, and transnational levels. Case
studies include online activities around homelessness and street
papers in the U.S. and around the world, digital and human rights
activism carried out though the United Nations, and the ongoing
battle between proprietary and free and open source software
proponents. The result is a thought-provoking and seminal work on
the way that the new paradigms of power and resistance forged
online reshape localized and traditional power structures offline.
Since 1997, the war in the east of the Democratic Republic of the
Congo has taken more than 6 million lives and shapes the daily
existence of the nation's residents. While the DRC is often
portrayed in international media as an unproductive failed state,
the Congolese have turned increasingly to art-making to express
their experience to external eyes. Author Cherie Rivers Ndaliko
argues that cultural activism and the enthusiasm to produce art
exists in Congo as a remedy for the social ills of war and as a way
to communicate a positive vision of the country. Ndaliko introduces
a memorable cast of artists, activists, and ordinary people from
the North-Kivu province, whose artistic and cultural interventions
are routinely excluded from global debates that prioritize
economics, politics, and development as the basis of policy
decision about Congo. Rivers also shows how art has been mobilized
by external humanitarian and charitable organizations, becoming the
vehicle through which to inflict new kinds of imperial domination.
Written by a scholar and activist in the center of the current
public policy debate, Necessary Noise examines the uneasy balance
of accomplishing change through art against the unsteady background
of civil war. At the heart of this book is the Yole!Africa cultural
center, which is the oldest independent cultural center in the east
of Congo. Established in the aftermath of volcano Nyiragongo's 2002
eruption and sustained through a series of armed conflicts, the
cultural activities organized by Yole!Africa have shaped a
generation of Congolese youth into socially and politically engaged
citizens. By juxtaposing intimate ethnographic, aesthetic, and
theoretical analyses of this thriving local initiative with case
studies that expose the often destructive underbelly of charitable
action, Necessary Noise introduces into heated international
debates on aid and sustainable development a compelling case for
the necessity of arts and culture in negotiating sustained peace.
Through vivid descriptions of a community of young people
transforming their lives through art, Ndaliko humanizes a dire
humanitarian disaster. In so doing, she invites readers to reflect
on the urgent choices we must navigate as globally responsible
citizens. The only study of music or film culture in the east of
Congo, Necessary Noise raises an impassioned and vibrantly
interdisciplinary voice that speaks to the theory and practice of
socially engaged scholarship.
Design and Analysis of Time Series Experiments presents the
elements of statistical time series analysis while also addressing
recent developments in research design and causal modeling. A
distinguishing feature of the book is its integration of design and
analysis of time series experiments. Drawing examples from
criminology, economics, education, pharmacology, public policy,
program evaluation, public health, and psychology, Design and
Analysis of Time Series Experiments is addressed to researchers and
graduate students in a wide range of behavioral, biomedical and
social sciences. Readers learn not only how-to skills but, also the
underlying rationales for the design features and the analytical
methods. ARIMA algebra, Box-Jenkins-Tiao models and model-building
strategies, forecasting, and Box-Tiao impact models are developed
in separate chapters. The presentation of the models and
model-building assumes only exposure to an introductory statistics
course, with more difficult mathematical material relegated to
appendices. Separate chapters cover threats to statistical
conclusion validity, internal validity, construct validity, and
external validity with an emphasis on how these threats arise in
time series experiments. Design structures for controlling the
threats are presented and illustrated through examples. The
chapters on statistical conclusion validity and internal validity
introduce Bayesian methods, counterfactual causality and synthetic
control group designs. Building on the earlier of the authors,
Design and Analysis of Time Series Experiments includes more recent
developments in modeling, and considers design issues in greater
detail than any existing work. Additionally, the book appeals to
those who want to conduct or interpret time series experiments, as
well as to those interested in research designs for causal
inference.
The essays contained in the present volume represent Bentham's
attempt to influence the direction of political and constitutional
change taking place in Spain and Portugal in the early 1820s. At
the same time as commenting on Spanish and Portuguese questions,
Bentham outlined important aspects of his own legal and
constitutional theories, defended measures of democratic reform,
and offered a vigorous defence of free speech and communication.
The volume complements Colonies, Commerce, and Constitutional Law,
in which Bentham commented on the disastrous effects on Spain of
her attempts to retain her overseas possessions.
The reality of transnational innovation and dissemination of new
technologies, including digital media, has yet to make a dent in
the deep-seated culturalism that insists on reinscribing a divide
between the West and Japan. The Oxford Handbook of Japanese Cinema
aims to counter this trend toward dichotomizing the West and Japan
and to challenge the pervasive culturalism of today's film and
media studies.
Featuring twenty essays, each authored by a leading researcher in
the field, this volume addresses productive debates about where
Japanese cinema is and where Japanese cinema is going at the period
of crisis of national boundary under globalization. It reevaluates
the position of Japanese cinema within the discipline of cinema and
media studies and beyond, and situates Japanese cinema within the
broader fields of transnational film history. Likewise, it examines
the materiality of Japanese cinema, scrutinizes cinema's
relationship to other media, and identifies the specific practices
of film production and reception. As a whole, the volume fosters a
dialogue between Japanese scholars of Japanese cinema, film
scholars of Japanese cinema based in Anglo-American and European
countries, film scholars of non-Japanese cinema, film archivists,
film critics, and filmmakers familiar with film scholarship.
A comprehensive volume that grasps Japanese cinema under the rubric
of the global and also fills the gap between Japanese and
non-Japanese film studies and between theories and practices, The
Oxford Handbook of Japanese Cinema challenges and responds to the
major developments underfoot in this rapidly changing field.
The powerful potential of digital media to engage citizens in
political actions has now crossed our news screens many times. But
scholarly focus has tended to be on "networked," anti-institutional
forms of collective action, to the neglect of advocacy and service
organizations. This book investigates the changing fortunes of the
citizen-civil society relationship by exploring how social changes
and innovations in communication technology are transforming the
information expectations and preferences of many citizens,
especially young citizens. In doing so, it is the first work to
bring together theories of civic identity change with research on
civic organizations. Specifically, it argues that a shift in
"information styles" may help to explain the disjuncture felt by
many young people when it comes to institutional participation and
politics. The book theorizes two paradigms of information style: a
dutiful style, which was rooted in the society, communication
system and citizen norms of the modern era, and an actualizing
style, which constitutes the set of information practices and
expectations of the young citizens of late modernity for whom
interactive digital media are the norm. Hypothesizing that civil
society institutions have difficulty adapting to the norms and
practices of the actualizing information style, two empirical
studies apply the dutiful/actualizing framework to innovative
content analyses of organizations' online communications-on their
websites, and through Facebook. Results demonstrate that with
intriguing exceptions, most major civil society organizations use
digital media more in line with dutiful information norms than
actualizing ones: they tend to broadcast strategic messages to an
audience of receivers, rather than encouraging participation or
exchange among an active set of participants. The book concludes
with a discussion of the tensions inherent in bureaucratic
organizations trying to adapt to an actualizing information style,
and recommendations for how they may more successfully do so.
This book provides a comprehensive analysis of the use of peace
agreements from a legal perspective. It describes and evaluates the
development of contemporary peace processes and the peace
agreements that emerge. The book sets out what is in essence an
anatomy of peace agreement practice and interrogates its
relationship to law. At its heart the book grapples with the role
of law in ending violent conflict and the broader questions this
raises for the relationship of law to social change. Law
potentially plays two key roles with respect to peace agreements:
first, to the extent that peace agreements themselves form legal
documents, law plays a role in the 'enforcement' or implementation
of the peace agreement; second, international law has a
relationship to peace agreement negotiation and content, in its
regulatory guise. International Law regulates self-determination,
transitional justice, and the role of third parties. The book
documants and analyses these two roles of law. In doing so, the
book reveals a complex dynamic relationship between the peace
agreement as a legal document and the role of international law in
which international law and concepts of domestic constitutionalism
are being re-shaped. The practice of negotiating peace agreements
is argued to be producing a new law of the peacemaker-or lex
pacificatoria that connects developments in international law with
new forms of domestic constitutional law in a set of hybrid
relationships. This law of the peacemaker potentially forms part of
a broader 'law of peace' that moves beyond the traditional concept
of law of peace as merely 'the rest of international law' once the
laws of war are subtracted. The new lex pacificatoria stands as an
account of the way in which international law shapes and is shaped
by peace agreements. The book proposes an ambivalent response to
'this new law' which connects to contemporary debates about the
force of international law and its appropriate relationship with
domestic constitutonalism.
Transnational Cooperation: An Issue-Based Approach presents an
analysis of transnational cooperation or collective action that
stresses basic concepts and intuition. Throughout the book, authors
Clint Peinhardt and Todd Sandler identify factors that facilitate
and/or inhibit such cooperation. The first four chapters lay the
analytical foundations for the book, while the next nine chapters
apply the analysis to a host of exigencies and topics of great
import. The authors use elementary game theory as a tool for
illustrating the ideas put forth in the text. Game theory reminds
us that rational actors (for example, countries, firms, or
individuals) must account for the responses by other rational
actors. The book assumes no prior knowledge of game theory; all
game-theoretic concepts and analyses are explained in detail to the
reader. Peinhardt and Sandler also employ paired comparisons in
illustrating the book's concepts. The book is rich in applications
and covers a wide range of topics, including superbugs, civil wars,
money laundering, financial crises, drug trafficking, terrorism,
global health concerns, international trade liberalization, acid
rain, leadership, sovereignty, and many others. Students,
researchers, and policymakers alike have much to gain from
Transnational Cooperation. It is a crossover book for economics,
political science, and public policy.
How can "Speaking Rights to Power" construct political will to
respond to human rights abuse worldwide? Examining dozens of cases
of human rights campaigns, this book shows how carefully crafted
communications build recognition, solidarity, and social change.
Alison Brysk presents an innovative analysis of the politics of
persuasion, based in the strategic use of voice, framing, media,
protest performance, and audience bridging. Building on twenty
years of research on five continents, this comprehensive study
ranges from Aung San Suu Kyi to Anna Hazare, from Congo to
Colombia, and from the Arab Spring to Pussy Riot. It includes both
well-chronicled campaigns, such as the struggle to end violence
against women, as well as lesser-known efforts, including
inter-ethnic human rights alliances in the U.S. Brysk compares
relatively successful human rights campaigns with unavailing
struggles. Grounding her analysis in the concrete practice of human
rights campaigns, she lays out testable strategic guidance for
human rights advocates. Speaking Rights to Power addresses cutting
edge debates on human rights and the ethic of care,
cosmopolitanism, charismatic leadership, communicative action and
political theater, and the role of social media. It draws on
constructivist literature from social movement and international
relations theory, and it analyzes human rights as a form of global
social imagination. Combining a normative contribution with
judicious critique, this book shows not only that human rights
rhetoric matters-but how to make it matter more.
Famous for his painstaking attention to detail and for the
craftsmanship and artistry he brought to his work, filmmaker
Stanley Kubrick is by now long established as both the subject of
an entire sub-field of scholarly inquiry, and as the object of all
levels of cinema studies pedagogy. His oeuvre, developed over
nearly 50 years, traverses an immensely broad variety of film
genres and subjects and has long been studied and understood in
terms of its narrative, thematic, and striking visual elements.
However, unique and often startling encounters between music and
the moving image are central trademarks of Kubrick's style; witness
the powerful effects of Strauss's "Also Sprach Zarathustra" in
2001: A Space Odyssey and of Beethoven's 9th Symphony in A
Clockwork Orange, each excerpt hand-picked by Kubrick himself.
We'll Meet Again argues that some of the most compelling and
understudied aspects of Stanley Kubrick's films are musically
conceived. Author Kate McQuiston illustrates that, for Kubrick,
music is neither post-production afterthought nor background nor
incidental, but rather core to films' themes and meanings. The book
is divided into three sections, the first of which identifies the
building blocks in Kubrick's sonic world and illuminates the ways
in which Kubrick uses them to substantiate his characters and to
define character relationships. The second section delves into the
effects of Kubrick's signature musical techniques, including the
use of texture, recurrence, and inscription to render and reinforce
psychological ideas and particular spectator responses. The third
and final section presents case studies in which the history of the
music Kubrick chooses plays a vital and dynamic role. Throughout
the author's arguments, the book locates Kubrick as a force in
music reception history by examining the relationship between his
musical choices and popular culture.
In 1962, when the Cold War threatened to ignite in the Cuban
Missile Crisis, when more nuclear test bombs were detonated than in
any other year in history, Rachel Carson released her own
bombshell, Silent Spring, to challenge society's use of pesticides.
To counter the use of chemicals-and bombs-the naturalist
articulated a holistic vision. She wrote about a "web of life" that
connected humans to the world around them and argued that actions
taken in one place had consequences elsewhere. Pesticides sprayed
over croplands seep into ground water and move throughout the
ecosystem, harming the environment. Thousands accepted her message,
joined environmental groups, flocked to Earth Day celebrations, and
lobbied for legislative regulation. Carson was not the only
intellectual to offer holistic answers to society's problems. This
book uncovers a holistic sensibility in post-World War II American
culture that both tested the logic of the Cold War and fed some of
the twentieth century's most powerful social movements, from civil
rights to environmentalism to the counterculture. The study
examines six important leaders and institutions that embraced and
put into practice a holistic vision for a peaceful, healthful, and
just world: nature writer Rachel Carson; structural engineer R.
Buckminster Fuller; civil rights leader Martin Luther King Jr.;
Jesuit priest and paleontologist Pierre Teilhard de Chardin;
humanistic psychologist Abraham Maslow; and the Esalen Institute
and its founders, Michael Murphy and Dick Price. Each looked to
whole systems instead of parts and focused on connections,
interdependencies, and integration to create a better world. In the
1960s and 1970s, holistic conceptions and practices infused the
March on Washington, Earth Day, the human potential movement, New
Age spirituality, and alternative medicine. Though dreams of
creating a more perfect world were tempered by economic
inequalities, political corruption, and deep social divisions, this
sensibility influenced American culture in important ways that
continue into the twenty-first century.
This lavishly illustrated book offers the first full,
interdisciplinary investigation of the historical evidence for the
presence of ancient Greek tragedy in the post-Restoration British
theatre, where it reached a much wider audience - including women -
than had access to the original texts. Archival research has
excavated substantial amounts of new material, both visual and
literary, which is presented in chronological order. But the
fundamental aim is to explain why Greek tragedy, which played an
elite role in the curricula of largely conservative schools and
universities, was magnetically attractive to political radicals,
progressive theatre professionals, and to the aesthetic
avant-garde. All Greek has been translated, and the book will be
essential reading for anyone interested in Greek tragedy, the
reception of ancient Greece and Rome, theatre history, British
social history, English studies, or comparative literature.
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Roland Barthes' Cinema
(Hardcover)
Philip Watts; Edited by Dudley Andrew, Yves Citton, Vincent Debaene, Sam Di Iorio
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R3,891
Discovery Miles 38 910
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Ships in 12 - 17 working days
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The most famous name in French literary circles from the late 1950s
till his death in 1981, Roland Barthes maintained a contradictory
rapport with the cinema. As a cultural critic, he warned of its
surreptitious ability to lead the enthralled spectator toward an
acceptance of a pre-given world. As a leftist, he understood that
spectacle could be turned against itself and provoke deep
questioning of that pre-given world. And as an extraordinarily
sensitive human being, he relished the beauty of images and the
community they could bring together.
You will never look at your cell phone, TV, or computer the same
way after reading this book. Maxwell and Miller not only reveal the
dirty secrets that hide inside our beloved electronics; they also
take apart the myths that have pushed these gadgets to the center
of our lives. With an astounding array of economic, environmental
and historical facts, Greening the Media debunks the idea that
information and communication technologies (ITC) are clean and
ecologically benign. In this compassionate and sharply argued book,
the authors show how the physical reality of making, consuming, and
discarding them is rife with toxic ingredients, poisonous working
conditions, and hazardous waste. But all is not lost. As the title
suggests, Maxwell and Miller dwell critically on these
environmental problems in order to think creatively about ways to
solve them. They enlist a range of potential allies in this effort
to foster greener media-from green consumers to green citizens,
with stops along the way to hear from exploited workers,
celebrities, and assorted bureaucrats. Maxwell and Miller rethink
the status of print and screen technologies from a perspective
unique in media studies, one that enables them to open new lines of
historical and social analysis of ICT, consumer electronics, and
media production. This original and highly readable book is for
anyone who marvels at the high tech goodies surrounding us and
wonders "How have they been made?," "By whom?," "Where?," and
"Under what conditions?"
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