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How did Britons understand their relationship with the East in the
late eighteenth and early nineteenth centuries? James Watt's new
study remaps the literary history of British Orientalisms between
1759, the 'year of victories' in the Seven Years' War, and 1835,
when T. B. Macaulay published his polemical 'Minute on Indian
Education'. It explores the impact of the war on Britons' cultural
horizons, and the different and shifting ways in which Britons
conceived of themselves and their nation as 'open' to the East
across this period. Considering the emergence of new forms and
styles of writing in the context of an age of empire and
revolution, Watt examines how the familiar 'Eastern' fictions of
the past were adapted, reworked, and reacted against. In doing so
he illuminates the larger cultural conflict which animated a nation
debating with itself about its place in the world and relation to
its others.
James Watt's historically grounded account of Gothic fiction, first
published in 1999, takes issue with received accounts of the genre
as a stable and continuous tradition. Charting its vicissitudes
from Walpole to Scott, Watt shows the Gothic to have been a
heterogeneous body of fiction, characterized at times by
antagonistic relations between various writers or works. Central to
his argument about these works' writing and reception is a nuanced
understanding of their political import: Walpole's attempt to forge
an aristocratic identity, the loyalist affiliations of many
neglected works of the 1790s, a reconsideration of the subversive
reputation of The Monk, and the ways in which Radcliffean romance
proved congenial to conservative critics. Watt concludes by looking
ahead to the fluctuating critical status of Scott and the Gothic,
and examines the process by which the Gothic came to be defined as
a monolithic tradition, in a way that continues to exert a powerful
hold.
James Watt's historically grounded account of Gothic fiction, first
published in 1999, takes issue with received accounts of the genre
as a stable and continuous tradition. Charting its vicissitudes
from Walpole to Scott, Watt shows the Gothic to have been a
heterogeneous body of fiction, characterized at times by
antagonistic relations between various writers or works. Central to
his argument about these works' writing and reception is a nuanced
understanding of their political import: Walpole's attempt to forge
an aristocratic identity, the loyalist affiliations of many
neglected works of the 1790s, a reconsideration of the subversive
reputation of The Monk, and the ways in which Radcliffean romance
proved congenial to conservative critics. Watt concludes by looking
ahead to the fluctuating critical status of Scott and the Gothic,
and examines the process by which the Gothic came to be defined as
a monolithic tradition, in a way that continues to exert a powerful
hold.
START A REVOLUTION NOT A BUSINESS Don't waste your time on bullsh*t
business plans. Forget sales. Put everything on the line for what
you believe in. These are some of the mantras that have turned
BrewDog into one of the world's fastest-growing drinks brands,
famous for beers, bars and crowdfunding. In Business for Punks,
BrewDog co-founder James Watt bottles the essence of this success.
From finances ('chase down every cent, pimp every pound') to
marketing ('lead with the crusade, not the product') this is an
anarchic, indispensable guide to thriving on your own terms.
'Indispensable tips for a fledgeling entrepreneur with a bright
idea' The Times
When Bridget the alligator arrives in the mail, she's only the size of a key chain! But after Zack soaks her in water, she grows into a real live alligator. Bridget wrestles the garden hose and swings from the monkey bars. And what other alligator can do cartwheels? Children's Books of 1989 (Library of Congress)
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