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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Ten years after Hurricane Katrina, outsiders will have two versions
of the Katrina experience. One version will be the images they
recall from news coverage of the aftermath. The other will be the
intimate portrayal of the determination of New Orleans residents to
rebuild and recover their lives. HBO's Treme offers outsiders an
inside look into why New Orleanians refused to abandon a place that
many questioned should not be rebuilt after the levees failed. This
critically acclaimed series expanded the boundaries of television
making in its format, plot, casting, use of music, and
realism-in-fictionalized-TV. However, Treme is not just a story for
the outside gaze on New Orleans. It was a very local, collaborative
experience where the show's creators sought to enlist the city in a
commemorative project. Treme allowed many in the city who worked as
principals, extras, and who tuned in as avid viewers to heal from
the devastation of the disaster as they experimented with art,
imitating life, imitating art. This book examines the impact of
HBOs Treme not just as television making, but in the sense in which
television provides a window to our worlds. The book pulls together
scholarship in media, communications, gender, area studies,
political economy, critical studies, African American studies and
music to explain why Treme was not just about television.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Ten years after Hurricane Katrina, outsiders will have two versions
of the Katrina experience. One version will be the images they
recall from news coverage of the aftermath. The other will be the
intimate portrayal of the determination of New Orleans residents to
rebuild and recover their lives. HBO's Treme offers outsiders an
inside look into why New Orleanians refused to abandon a place that
many questioned should not be rebuilt after the levees failed. This
critically acclaimed series expanded the boundaries of television
making in its format, plot, casting, use of music, and
realism-in-fictionalized-TV. However, Treme is not just a story for
the outside gaze on New Orleans. It was a very local, collaborative
experience where the show's creators sought to enlist the city in a
commemorative project. Treme allowed many in the city who worked as
principals, extras, and who tuned in as avid viewers to heal from
the devastation of the disaster as they experimented with art,
imitating life, imitating art. This book examines the impact of
HBOs Treme not just as television making, but in the sense in which
television provides a window to our worlds. The book pulls together
scholarship in media, communications, gender, area studies,
political economy, critical studies, African American studies and
music to explain why Treme was not just about television.
Les etudes reunies dans ce livre mettent en evidence la
contribution de la litterature a un nouvel imaginaire sur l'espace
des Ameriques, se traduisant par la prise en consideration des
cultures des peuples autochtones et la remise en question de la
perspective coloniale qui perdure jusqu'a nos jours. Le choix des
recits et recueils de poemes du Bresil et du Quebec (XXe et XXIe
siecles) permet a Rita Olivieri-Godet de souligner les aspects
geopolitiques et culturels d'un processus de transformation des
territorialites autochtones a travers des textes qui temoignent des
structures profondes reliant les Amerindiens a leur territoire et
devoilent la memoire enfouie du vecu des communautes. L'etude des
voix d'ecrivaines amerindiennes interroge les elements formels et
thematiques d'une poetique autochtone qui participe a
l'elargissement et a la reconfiguration des dimensions materielle
et symbolique des espaces des Ameriques, dans le contexte
pluriculturel de nos societes contemporaines. C'est par
l'amerindianite des oeuvres litteraires allochtones et autochtones
-qui reclament la reconnaissance des cultures amerindiennes- que
l'ouvrage rejoint la perspective de l'americanite.
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