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Everything is open to question. Nothing is sacred.
Critical and cultural theory invites a rethinking of some of our
most basic assumptions about who we are, how we behave, and how we
interpret the world around us.
The Routledge Critical and Cultural Theory Reader brings
together 29 key pieces from the last century and a half that have
shaped the field. Topics include: subjectivity, language, gender,
ethnicity, sexuality, the body, the human, class, culture, everyday
life, literature, psychoanalysis, technology, power, and visuality.
The choice of texts, together with the editors' introduction and
glossary, will allow newcomers to begin from first principles,
while the use of unabridged readings will also make the volume
suitable for those undertaking more specialized work. Material is
arranged chronologically, but the editors have suggested thematic
pathways through the selections.
Everything is open to question. Nothing is sacred.
Critical and cultural theory invites a rethinking of some of our
most basic assumptions about who we are, how we behave, and how we
interpret the world around us.
The Routledge Critical and Cultural Theory Reader brings
together 29 key pieces from the last century and a half that have
shaped the field. Topics include: subjectivity, language, gender,
ethnicity, sexuality, the body, the human, class, culture, everyday
life, literature, psychoanalysis, technology, power, and visuality.
The choice of texts, together with the editors' introduction and
glossary, will allow newcomers to begin from first principles,
while the use of unabridged readings will also make the volume
suitable for those undertaking more specialized work. Material is
arranged chronologically, but the editors have suggested thematic
pathways through the selections.
Anyone who has paid the entry fee to visit Shakespeare's Birthplace
on Henley Street in Stratford-upon-Avon-and there are some 700,000
a year who do so-might be forgiven for taking the authenticity of
the building for granted. The house, as the official guidebooks
state, was purchased by Shakespeare's father, John Shakespeare, in
two stages in 1556 and 1575, and William was born and brought up
there. The street itself might have changed through the
centuries-it is now largely populated by gift and tea shops-but it
is easy to imagine little Will playing in the garden of this
ancient structure, sitting in the inglenook in the kitchen, or
reaching up to turn the Gothic handles on the weathered doors. In
Shakespeare's Shrine Julia Thomas reveals just how fully the
Birthplace that we visit today is a creation of the nineteenth
century. Two hundred years after Shakespeare's death, the run-down
house on Henley Street was home to a butcher shop and a pub. Saved
from the threat of an ignominious sale to P. T. Barnum, it was
purchased for the English nation in 1847 and given the picturesque
half-timbered facade first seen in a fanciful 1769 engraving of the
building. A perfect confluence of nationalism, nostalgia, and the
easy access afforded by rail travel turned the house in which the
Bard first drew breath into a major tourist attraction, one
artifact in a sea of Shakespeare handkerchiefs, eggcups, and
door-knockers. It was clear to Victorians on pilgrimage to
Stratford just who Shakespeare was, how he lived, and to whom he
belonged, Thomas writes, and the answers were inseparable from
Victorian notions of class, domesticity, and national identity. In
Shakespeare's Shrine she has written a richly documented and witty
account of how both the Bard and the Warwickshire market town of
his birth were turned into enduring symbols of British heritage-and
of just how closely contemporary visitors to Stratford are
following in the footsteps of their Victorian predecessors.
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Only Eight (Paperback)
Julia Thomas, Kristi Thomas-Soares; Illustrated by Brittany Galloway
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R344
R281
Discovery Miles 2 810
Save R63 (18%)
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Ships in 10 - 15 working days
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This book brings the study of nineteenth-century illustrations into
the digital age. The key issues discussed include the difficulties
of making illustrations visible online, the mechanisms for
searching the content of illustrations, and the politics of
crowdsourced image tagging. Analyzing a range of online resources,
the book offers a conceptual and critical model for engaging with
and understanding nineteenth-century illustration through its
interplay with the digital. In its exploration of the intersections
between historic illustrations and the digital, the book is of
interest to those working in illustration studies, digital
humanities, word and image, nineteenth-century studies, and visual
culture.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
"Never Say Never" is a novel about the lives four young women of a
colour whose friendship dates back to childhood. It presents the
story of how their lives emerged from early adolescence into
adulthood. Never Say Never enhances your life with new friends who
seem like old ones. Though the future can be surprising, we find
out in this intriguing novel that with our surprises and often with
life disappointments are many special blessings. You may be
confronted with the fact that you did a lot of the things that you
said you "never" would do, and sometimes you paid a stiff price for
keeping some of those "never" vows. We also discover that some
people in our lives and history, who were thought to be ordinary,
ended up being extraordinary champions and heroes as we have an
opportunity to reflect on their character and accomplishments
through the window of time. Yet, through it all, life has some
tremendous surprises. Yes, I keep moving to "we." That's exactly
what happens as you read Never Say Never .; you find your place
within the context of this powerful novel and experience the strong
relationships between the characters to the very end.
Dr. Victoria B. Ensley-Walton
Author of The Transformation Connection and The Poet Speaks of
Life
This book contains some adult and language.
This is a pre-1923 historical reproduction that was curated for
quality. Quality assurance was conducted on each of these books in
an attempt to remove books with imperfections introduced by the
digitization process. Though we have made best efforts - the books
may have occasional errors that do not impede the reading
experience. We believe this work is culturally important and have
elected to bring the book back into print as part of our continuing
commitment to the preservation of printed works worldwide.
The book examines military paintings in France in the 1850s and
1860s, when the genre experienced a new lease of life. It recreates
the paintings' art-historical, historical and social context, and
considers the explosion of military subjects in their own right
rather than as a consequence of war reporting. The paintings'
entertainment value effectively communicated political agendas,
catering to the emerging phenomenon of mass spectatorship and
giving rise to innovative compositions. The book also looks at the
other side of the artistic spectrum, proposing that smaller formats
adapted the sentimental techniques of military memoirs to focus on
the soldiers' experiences of warfare and to elicit a critique of
war.
The Victorians Were Image Obsessed. The middle decades of the
nineteenth century saw an unprecedented growth in the picture
industry. Technological advances enabled the Victorians to adorn
with images the pages of their books and the walls of their homes.
But this was not a wholly visual culture. Pictorial Victorians
focuses on two of the most popular mid-nineteenth-century
genres--illustration and narrative painting--that blurred the line
between the visual and textual. Illustration negotiated text and
image on the printed page, while narrative painting juxtaposed the
two media in its formulation of pictorial stories. Author Julia
Thomas reassesses mid-nineteenth-century values in the light of
this interplay. The dialogue between word and image generates
meanings that are intimately related to the Victorians' image of
themselves. Illustrations in Victorian publications and the
narrative scenes that lined the walls of the Royal Academy reveal
the Victorians' ideas about the world in which they lived and their
notions of gender, class, and race. Pictorial Victorians surveys a
range of material, from representations of the crinoline, to the
illustrations that accompanied Harriet Beecher Stowe's novel Uncle
Tom's Cabin and Tennyson's poetry, to paintings of adultery. It
demonstrates that the space between text and image is one in which
values are both constructed and questioned.
Is seeing a matter of nature? Does perspective show things as they really are? Can we read an image in the same way as a text? Reading Images draws together essays that attempt to answer these questions but in a variety of ways and from the different theoretical positions offered by psychoanalysis, semiotics, poststructuralism and postmodernism. The anthology opens up a dialogue between seeing and the seen, text and image, theory and practice. By discussing a range of visual material, from advertising and architecture to painting and photography, it crosses generic and disciplinary boundaries and suggests ways in which vision and visuality are related to questions of textuality, subjectivity, race, and gender.
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