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PROTOTYPE 4 (Paperback)
Jess Chandler; Contributions by ajw, Sascha Akhtar, Chiara Ambrosio, Charlie Baylis, Jack Barker-Clark, Natalie Linh Bolderston, Jo Burns, Nancy Campbell, J. R. Carpenter, Joe Carrick-Varty, Robert Casselton Clark, Rory Cook, Emily Cooper, Kate Crowcroft, Eve Esfandiari-Denney, Alisha Dietzman, Edward Doegar, Nathan Dragon, Laura Elliott, Alan Fielden, Clare Fisher, Livia Franchini, Jay Gao, Honor Gareth Gavin, Emily Hasler, Grace Henes, Martha Kapos, Annie Katchinska, Victoria Manifold, Samra Mayanja, Jessa Mockridge, Helen Palmer, Yannis Ritsos (trans. Paul Merchant), Rochelle Roberts, Kimberly Reyes, fred spoliar, Scott Thurston, Hao Guang Tse, Ralf Webb, Sam Weselowski, Chrissy Williams and Xuela Zhang
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R386
R318
Discovery Miles 3 180
Save R68 (18%)
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First published in 1971, this work examines the tradition of the
epic and the many forms in which it has presented itself over time.
After unpicking the defining aspects of an epic, the book tracks
the literary tradition from the classical period through to modern
day. Exploring major texts such as Beowulf, Odyssey, Divina
Comedia, The Faerie Queene and Ulysses, this work will be a
valuable resource for those studying the epic and English
literature.
First published in 1971, this work examines the tradition of the
epic and the many forms in which it has presented itself over time.
After unpicking the defining aspects of an epic, the book tracks
the literary tradition from the classical period through to modern
day. Exploring major texts such as Beowulf, Odyssey, Divina
Comedia, The Faerie Queene and Ulysses, this work will be a
valuable resource for those studying the epic and English
literature.
Lucrecia Martel has made only four feature films to date, but has
nonetheless become one of the world's most admired directors. Her
work is extraordinarily sensitive to the limits of sensory
perception, the limits imposed by gender roles, and the limits of
empathy and affect across social divisions. This edited collection
broadens the critical conversation around Martel's work by
integrating analyses of her features with the less frequently
studied short films and her other artistic projects. This volume's
fresh, holistic approach to Martel's career includes contributions
from scholars in Latin America, Europe and the United States, and
ends with a new interview with Martel herself.
This volume explores works from Latin American literary and visual
culture that question what it means to be human and examine the
ways humans and nonhumans shape one another. In doing so, it
provides new perspectives on how the region challenges and adds to
global conversations about humanism and the posthuman. Contributors
identify posthumanist themes across a range of different materials,
including an anecdote about a plague of rabbits in Historia de las
Indias by Spanish historian Bartolome de las Casas, photography
depicting desert landscapes at the site of Brazil's War of Canudos,
and digital and installation art portraying victims of
state-sponsored and drug violence in Colombia and Mexico. The
essays illuminate how these cultural texts broach the limits
between life and death, human and animal, technology and the body,
and people and the environment. They also show that these works use
the category of the human to address issues related to race,
gender, inequality, necropolitics, human rights, and the role of
the environment.Latin American Culture and the Limits of the Human
demonstrates that by focusing on the boundary between the human and
nonhuman, writers, artists, and scholars can open up new dimensions
to debates about identity and difference, the local and the global,
and colonialism and power.
"Sound of the Ax" brings together for the first time over four
hundred aphorisms and twenty-six aphoristic poems by one of
America's most essential poets of the twentieth century. Many
readers are familiar with the trenchant nature of William
Stafford's poems, with lines such as "Justice will take us millions
of intricate moves" and "Your job is to find what the world is
trying to be," but have never had the opportunity to read a
sustained selection from the thousands of wise, witty, and
penetrating statements he created in over forty years of daily
writing in his journal. In keeping with Stafford's varied
interests, the aphorisms in "Sound of the Ax" explore many
topics--war and peace, involvement, aging, appearances, fear,
egotism, writing, nature, animals, suffering, faith, living an
ethical life, and so on--with his incisive view. The poems are
either made up entirely or primarily aphorisms, and range from the
well-known "Things I Learned Last Week" to some never before
collected. Readers will find much to enjoy and to think about here,
and will return over and over to "Sound of the Ax" for inspiration,
pleasure, and wisdom from an author noted for his integrity and
mindful living.
Houses, in the Argentine and Chilean films of the early
21st-century, provide much more than a backdrop to on-screen drama.
Nor are they simply refuges from political turmoil or spaces of
oppression. This volume argues that domestic spaces are instead the
medium through which new, fragile common identities are
constructed. The varied documentary and fiction films analyzed here
face=Calibri>- which include an early work by Oscar-winner
Sebastian Lelio face=Calibri>- use the domestic sphere as a
laboratory in which to experiment with narrative, with audiovisual
techniques, and with social configurations. Where previous
scholarship has focused on the social fragmentation and political
disillusionment visible in contemporary film, this book argues that
in order to properly account for the political agency of cinema, it
is necessary to move beyond deconstructive critical approaches to
Latin American culture. In doing so, it expands the theoretical
scope of studies in Latin American cinema by finding new points of
contact between the cultural critique of Nelly Richard, the work of
Bruno Latour, and theories of new materialism.
A volume in the Poets on Poetry series, which collects critical
works by contemporary poets, gathering together the articles,
interviews, and book reviews by which they have articulated the
poetics of a new generation.
In this fourth collection of reflections on writing and the writing
life, the late William Stafford's lifelong refusal to separate his
work from the task of living responsibly -- "What a person is shows
up in what a person does" -- rings clear.
The Answers Are Inside the Mountains collects unpublished
interviews, poems, articles, aphorisms, and writing exercises from
this great American man of letters and hugely prolific author, who
kept a journal for nearly half a century and produced over 20,000
poems -- a staggering output by any standard.
The book begins with the words "To overwhelm by rightness," a
phrase evoking the two demands Stafford made on himself: to write
daily, and to live uprightly. The Answers Are Inside the Mountains
lives up to those deceptively simple ethics, and confirms William
Stafford's enduringly important voice for our uncertain age.
William Stafford (1914-93) authored more than thirty-five books of
poetry and prose, including the highly acclaimed Writing the
Australian Crawl, You Must Revise Your Life, Crossing Unmarked
Snow: Further Views on the Writer's Vocation, and Traveling Through
the Dark, winner of the National Book Award for Poetry.
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