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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.
Todd Haynes's 2002 film Far From Heaven has been hailed as a homage
to 1950s Hollywood melodrama, although anyone tempted to take the
film at face value should be warned that it aims to subvert as much
as celebrate that genre. Impeccably constructed, with a care for
detail unknown in films from the era, it sets out to make key
themes from the genre - romance across racial barriers and class
lines, and perhaps the period's greatest taboo, romance between
members of the same sex - utterly explicit, when half a century ago
those themes had to be encoded in allusion and metaphor. Haynes
took as his main source Douglas Sirk's 1955 classic, All That
Heaven Allows, although Far From Heaven also references Rainer
Werner Fassbinder's bleak portrayal of inter-racial love, Fear Eats
the Soul (1974). In the context of Haynes's background in the New
Queer Cinema movement, with films such as Superstar, Poison and
[safe], this admixture makes Far From Heaven a rather more complex
film than just another well-dressed period pastiche. John Gill
provides a revealing insight into how Haynes confronts issues of
race, sexuality and class in a suburban 1950s American
neighbourhood. Haynes has been evasive when pressed for a
definitive explanation of his film, although as Gill contends, he
has left enough evidence lying around on screen for the keen viewer
to pick up on numerous disturbing strands at work beneath the
glossy surface of this sumptuously presented weepie. While it may
affect to pass as a classic of the genre, Haynes's ultimate aim,
Gill contends, is to undermine the nature and notion of cinema and
storytelling.
A garden at the foot of Europe and a crossroads between Spain,
Africa and the New World, Andaluca has been a cultural customs
house on the border of the Mediterranean and Atlantic civilisations
for more than ten thousand years. This book traces its origins from
the earliest hominid settlers in the Granada mountains 1.8 million
years ago, through successive Phoenician, Greek, Roman and Muslim
cultures, and the past five hundred years of modern Castilian rule,
up to and including the present day of post-modern novelists in
Crdoba and Sevilla, guerrilla urban archaeologists in Torremolinos
and Marbella, and underground lo-fi bands in Granada and Mlaga.
Archaeological investigations, undertaken as part of a programme to
restore St George's Church, Bloomsbury, to its original Hawksmoor
splendour, involved the removal of 871 triple lead-lined coffins
from within the crypt and monitoring works within the churchyard.
The elaborate named coffins of upper middle class parishioners
provided a valuable opportunity to greatly develop the new field of
post-medieval coffin analysis, and to integrate historical,
archaeological and osteological data in order to build a vivid
picture of this population. Over 90% of coffins were named, which
allowed a rare opportunity to blind test osteological methods on 72
skeletons, whilst analysis of documentary and osteological evidence
has challenged some long-held beliefs in post-medieval burial
archaeology. Disease patterns in the St George's assemblage were
influenced by the longevity and affluence of this population,
factors that also underlay the necessity for elaborate and
expensive dental treatment, including very early examples of
fillings, filing and dentures.
Athens is an historical anomaly. Excavations date its first
settlement to over seven thousand years ago, yet it only became the
capital of Greece in 1834. During the intervening centuries it was
occupied by almost every mobile culture in Europe: from its
earliest likely settlers, tribes from what is now Albania, to Nazi
forces during the second World War, and in between by successive
waves of Persians, Macedonians, Romans, Slavs, Goths, Venetians,
French, Catalans, Turks, Italians, Bulgarians and the clans of
various kings and tyrants of the region's early city-states. There
has been a structure on its 'high city', the acropolis, since at
least the bronze age, although it was subsequently altered by
successive occupiers, becoming a fort, castle, temple, mosque,
church and even a harem. its 'Golden Age' peaked in the fifth
century BCE, with the great building projects of Pericles and
Themistocles, and its later history is one of a city already
nostalgic for its past, although at a time when other European
cities had yet to begin constructing a past.
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