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Antonio Gramsci's Prison Notebooks, written between 1929 and 1935,
are the work of one of the most original thinkers in twentieth
century Europe. Gramsci has had a profound influence on debates
about the relationship between politics and culture. His complex
and fruitful approach to questions of ideology, power and change
remains crucial for critical theory. This volume was the first
selection published from the Notebooks to be made available in
Britain, and was originally published in the early 1970s. It
contains the most important of Gramsci's notebooks, including the
texts of The Modern Prince, and Americanism and Fordism, and
extensive notes on the state and civil society, Italian history and
the role of intellectuals. 'Far the best informative apparatus
available to any foreign language readership of Gramsci.' Perry
Anderson, New Left Review 'A model of scholarship' New Statesman
The British Film Institute (BFI) is one of the UK's oldest and most
important government-supported cultural institutions. From a modest
start in the 1930s it grew rapidly after the war to encompass every
kind of film-related activity from production to archiving to
exhibition to education. At the beginning of the twenty-first
century its turnover was approaching GBP30m and it had become a
central point of reference for anyone whose interest in film
stretched beyond what's on at the local multiplex. There was
nothing straightforward about this rise to prominence. It was
achieved in the face of government indifference, active obstruction
from the film trade, internecine warfare within the organisation
and fierce contestation on the part of the BFI's own core public.
Based on intensive original research in the BFI's own voluminous
archives and elsewhere, this book examines the interplay of
external and internal forces that led to the BFI's unique
development as a multi-faceted public body. This volume will be a
treasure trove for anyone interested in film and the workings of
cultural institutions, or more generally in twentieth-century
British film history. -- .
This book shows how rhythm constitutes an untapped resource for
understanding poetry. Intervening in recent debates over formalism,
historicism, and poetics, the authors show how rhythm is at once a
defamiliarizing aesthetic force and an unstable concept. Distinct
from the related terms to which it's often assimilated-scansion,
prosody, meter-rhythm makes legible a range of ways poetry affects
us that cannot be parsed through the traditional resources of
poetic theory. Rhythm has rich but also problematic roots in
still-lingering nineteenth-century notions of primitive, oral,
communal, and sometimes racialized poetics. But there are reasons
to understand and even embrace its seductions, including its
resistance to lyrical voice and even identity. Through exploration
of rhythm's genealogies and present critical debates, the essays
consistently warn against taking rhythm to be a given form offering
ready-made resources for interpretation. Pressing beyond poetry
handbooks' isolated descriptions of technique or inductive
declarations of what rhythm "is," the essays ask what it means to
think rhythm. Rhythm, the contributors show, happens relative to
the body, on the one hand, and to language, on the other-two
categories that are distinct from the literary, the mode through
which poetics has tended to be analyzed. Beyond articulating what
rhythm does to poetry, the contributors undertake a genealogical
and theoretical analysis of how rhythm as a human experience has
come to be articulated through poetry and poetics. The resulting
work helps us better understand poetry both on its own terms and in
its continuities with other experiences and other arts.
Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie
Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones,
Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins,
Haun Saussy
The first collection of essays dedicated to experimental practice
in contemporary British poetry, Modernist Legacies provides an
overview of the most notable trends in the past 50 years.
Contributors discuss a wide range of poets including Caroline
Bergvall and Barry MacSweeney, showing these poets' connections
with their Modernist predecessors.
What do we mean by 'voice' in poetry? In this work, David Nowell
Smith teases out the diverse meanings of 'voice', from a poem's
soundworld to the rhetorical gestures through which poems speak to
us, in order to embark on a philosophical exploration of the
concept of voice itself.
What do we mean by 'voice' in poetry? In this work, David Nowell
Smith teases out the diverse meanings of 'voice', from a poem's
soundworld to the rhetorical gestures through which poems speak to
us, in order to embark on a philosophical exploration of the
concept of voice itself.
Gramsci's writings on culture have been hugely influential for
western critical thinking during the last forty years. This volume
brings together a wealth of these writings, ranging from
appreciations of theatre, literature and other forms of artistic
production to notes that break new ground in cultural theory.
Gramsci was interested in both popular and high-art culture, and
the writings in this selection include his reflections on Futurism
as well as the detective novel, on linguistics and journalism, on
'national-popular' culture and folklore. The volume's extensive
introductory material and explanatory notes offer useful background
information on the wider context of Gramsci's work.
This book shows how rhythm constitutes an untapped resource for
understanding poetry. Intervening in recent debates over formalism,
historicism, and poetics, the authors show how rhythm is at once a
defamiliarizing aesthetic force and an unstable concept. Distinct
from the related terms to which it’s often
assimilated—scansion, prosody, meter—rhythm makes legible a
range of ways poetry affects us that cannot be parsed through the
traditional resources of poetic theory. Rhythm has rich but also
problematic roots in still-lingering nineteenth-century notions of
primitive, oral, communal, and sometimes racialized poetics. But
there are reasons to understand and even embrace its seductions,
including its resistance to lyrical voice and even identity.
Through exploration of rhythm’s genealogies and present critical
debates, the essays consistently warn against taking rhythm to be a
given form offering ready-made resources for interpretation.
Pressing beyond poetry handbooks’ isolated descriptions of
technique or inductive declarations of what rhythm “is,” the
essays ask what it means to think rhythm. Rhythm, the contributors
show, happens relative to the body, on the one hand, and to
language, on the other—two categories that are distinct from the
literary, the mode through which poetics has tended to be analyzed.
Beyond articulating what rhythm does to poetry, the contributors
undertake a genealogical and theoretical analysis of how rhythm as
a human experience has come to be articulated through poetry and
poetics. The resulting work helps us better understand poetry both
on its own terms and in its continuities with other experiences and
other arts. Contributors: Derek Attridge, Tom Cable, Jonathan
Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis,
Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith,
Yopie Prins, Haun Saussy
The Oxford History of World Cinema, is the most authoritative, up-to-date history of the cinema ever undertaken. It traces the history of the twentieth-century's most enduringly popular entertainment form, covering all aspects of its development, stars, studios, and cultural impact. An invaluable and entertaining guide and resource for the student and general reader.
One of the world's most influential cultural critics, Antonio
Gramsci's writings on the interconnection between culture and
politics fundamentally changed the way that scholars view both.
Among the first to argue that art is not the product of "men of
genius" but rather particular historical and social contexts,
Gramsci remains one of the most widely read theorists of modern
culture.
Antonio Gramsci was a founding member of the Italian Communist
Party and spent most of his adult life imprisoned by Benito
Mussolini. After his death and the subsequent publication of his
"Prison Notebooks," he came to be known as one of the twentieth
century's foremost cultural critics.
Cinema was the first, and is arguably still the greatest, of the
industrialized art forms that came to dominate the cultural life of
the twentieth century. Today, it continues to adapt and grow as new
technologies and viewing platforms become available, and remains an
integral cultural and aesthetic entertainment experience for people
the world over. Cinema developed against the backdrop of the two
world wars, and over the years has seen smaller wars, revolutions,
and profound social changes. Its history reflects this changing
landscape, and, more than any other art form, developments in
technology. In this Very Short Introduction, Nowell-Smith looks at
the defining moments of the industry, from silent to sound, black
and white to colour, and considers its genres from intellectual art
house to mass market entertainment. ABOUT THE SERIES: The Very
Short Introduction series from Oxford University Press contains
hundreds of titles in almost every subject area. These pocket-sized
books are the perfect way to get ahead in a new subject quickly.
Our expert authors combine facts, analysis, perspective, new ideas,
and enthusiasm to make interesting and challenging topics highly
readable.
I was born in 1938 and grew up in Swindon, Wiltshire. I was an only
child and during the war years I was diagnosed with Tuberculosis
and Diphtheria, and was in hospital so much of my early years I had
to learn to write three times. No school in war time hospital! As I
grew up, I joined the Sea Cadets and I seriously considered making
the Navy my career, but at fifteen I met Mo, who I would marry
seven years later. We both became committed Christians and through
God's grace experienced many miracles in our life. We were married
for fifty-three years before God called her home. Since then, I
have had to reinvent my life, coping with and beating cancer twice,
and now spending my time working with a couple of charities,
studying the Bible, and writing sermons.
This scarce antiquarian book is included in our special Legacy
Reprint Series. In the interest of creating a more extensive
selection of rare historical book reprints, we have chosen to
reproduce this title even though it may possibly have occasional
imperfections such as missing and blurred pages, missing text, poor
pictures, markings, dark backgrounds and other reproduction issues
beyond our control. Because this work is culturally important, we
have made it available as a part of our commitment to protecting,
preserving and promoting the world's literature.
This scarce antiquarian book is included in our special Legacy
Reprint Series. In the interest of creating a more extensive
selection of rare historical book reprints, we have chosen to
reproduce this title even though it may possibly have occasional
imperfections such as missing and blurred pages, missing text, poor
pictures, markings, dark backgrounds and other reproduction issues
beyond our control. Because this work is culturally important, we
have made it available as a part of our commitment to protecting,
preserving and promoting the world's literature.
This scarce antiquarian book is included in our special Legacy
Reprint Series. In the interest of creating a more extensive
selection of rare historical book reprints, we have chosen to
reproduce this title even though it may possibly have occasional
imperfections such as missing and blurred pages, missing text, poor
pictures, markings, dark backgrounds and other reproduction issues
beyond our control. Because this work is culturally important, we
have made it available as a part of our commitment to protecting,
preserving and promoting the world's literature.
Aristocrat and Marxist, master equally of harsh realism and sublime
melodrama, Luchino Visconti (1906-1976) was without question one of
the greatest European film directors. His career as a film-maker
began in the 1930s when he escaped the stifling culture of Fascist
Italy to work with Jean Renoir in the France of the Popular Front.
Back in his native country in the 40s he was one of the founders of
the neo-realist movement. In 1954, with Senso, he turned his hand
to a historical spectacular. The result was both glorious to look
at and a profound reinterpretation of history. In "Rocco and His
Brothers" (1960) he returned to his neo-realist roots and in "The
Leopard" (1963), with Burt Lancaster, Claudia Cardinale and Alain
Delon, he made the first truly international film. He scored a
further success with "Death in Venice" (1971), a sensitive
adaptation of Thomas Mann's story about a writer (in the film, a
musician) whose world is devastated when he falls in love with a
young boy. A similar homo-erotic theme haunts "Ludwig" (1973), a
bio-pic about the King of Bavaria who prefers art to politics and
the company of stableboys to the princess he is supposed to marry.
Geoffrey Nowell-Smith's classic study of the director was first
published in 1967 and revised in 1973. It is now updated to include
the last three films that Visconti made before his death, together
with some reflections on the "auteur" theory of which the original
edition was a key example.
Aristocrat and Marxist, master equally of harsh realism and sublime
melodrama, Luchino Visconti (1906-1976) was without question one of
the greatest European film directors. His career as a film-maker
began in the 1930s when he escaped the stifling culture of Fascist
Italy to work with Jean Renoir in the France of the Popular Front.
Back in his native country in the 40s he was one of the founders of
the neo-realist movement. In 1954, with Senso, he turned his hand
to a historical spectacular. The result was both glorious to look
at and a profound reinterpretation of history. In Rocco and His
Brothers (1960) he returned to his neo-realist roots and in The
Leopard (1963), with Burt Lancaster, Claudia Cardinale and Alain
Delon, he made the first truly international film. He scored a
further success with Death in Venice (1971), a sensitive adaptation
of Thomas Mann's story about a writer (in the film, a musician)
whose world is devastated when he falls in love with a young boy. A
similar homo-erotic theme haunts Ludwig (1973), a bio-pic about the
King of Bavaria who prefers art to politics and the company of
stableboys to the princess he is supposed to marry. Geoffrey
Nowell-Smith's classic study of the director was first published in
1967 and revised in 1973. It is now updated to include the last
three films that Visconti made before his death, together with some
reflections on the 'auteur' theory of which the original edition
was a key example.
A master of modern European cinema and a key figure in the Italian
neorealist movement, Roberto Rossellini had one of the longest and
most varied careers of all major directors. From "Rome Open City"
and "Paisa " through to the "Bergman" classics "Stromboli "and
"Journey to Italy" and his later work for television, Rossellini's
work and ideas had a profound influence on filmmaking and
criticism. This specially commissioned overview of Rossellini's
works examines key issues and themes covering all phases of his
career. Leading critics from across the world examine, among other
issues, the Fascist context of Rossellini's early work, the view of
Europe that emerges in his films, the stylistic trajectory of the
work through neorealism and beyond and its influence on the French
New Wave, the issues of representation that emerge in later films
and his extensive work for television. The significance of
Rossellini's relationships with Ingrid Bergman and Anna Magnani is
discussed and the book also includes a dossier section of materials
providing an overview of the most important facts and documents
concerning the director.
On the peripheries of UK poetry culture during his lifetime, W. S.
Graham is now recognized one of the great poets of the twentieth
century. In the first concerted study of Graham's poetics in a
generation, David Nowell Smith argues that Graham is exemplary for
the poetics of the mid-century: his extension of modernist
explorations of rhythm and diction; his interweaving of linguistic
and geographic places; his dialogue with the plastic arts; and the
tensions that run through his work, between philosophical
seriousness and play, solitude and sociality, regionalism and
cosmopolitanism, the heft and evanescence of poetry's medium.
Drawing on newly unearthed archival materials, Nowell Smith orients
Graham's poetics around the question of the 'art object'. Graham
sought to craft his poems into honed, finished 'objects'; yet he
was also aware that the poem's 'finished object' is never wholly
finished. Graham's work thus facilitates a broader reflection on
language as a medium for art-making.
This study provides a detailed account of the 1960s film
"L'avventura." The book argues that in order to appreciate the
film's greatness, it is necessary to understand not only that the
film is a classic, but also that it represents a revolution in
cinema.
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