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"Cylons in America" is the first collection of critical studies of
Battlestar Galactica (its 2003 miniseries, and the ongoing 2004
television series), examining its place within popular culture and
its engagement with contemporary American society.With its fourth
season due to air in January 2008, the award-winning Battlestar
Galactica continues to be exceptionally popular for non-network
television, combining the familiar features of science fiction with
direct commentary on life in mainstream America. "Cylons in
America" is the first collection of critical studies of Battlestar
Galactica (its 2003 miniseries, and the ongoing 2004 television
series), examining its place within popular culture and its
engagement with contemporary American society.Battlestar Galactica
depicts the remnants of the human race fleeing across space from a
robotic enemy called the Cylons. The fleet is protected by a single
warship, the Battlestar, and is searching for a "lost colony" that
settled on the legendary planet "Earth." Originally a television
series in the 1970s, the current series maintains the mythic sense
established with the earlier quest narrative, but adds elements of
hard science and aggressive engagement with post-9/11 American
politics. "Cylons In America" casts a critical eye on the revived
series and is sure to appeal to fans of the show, as well as to
scholars and researchers of contemporary television.
In this timely collection, teacher-scholars of “the long
eighteenth century,” a Eurocentric time frame from about 1680 to
1832, consider what teaching means in this historical moment: one
of attacks on education, a global contagion, and a reckoning with
centuries of trauma experienced by Black, Indigenous, and immigrant
peoples. Taking up this challenge, each essay highlights the
intellectual labor of the classroom, linking textual and cultural
materials that fascinate us as researchers with pedagogical
approaches that engage contemporary students. Some essays offer
practical models for teaching through editing, sensory experience,
dialogue, or collaborative projects. Others reframe familiar texts
and topics through contemporary approaches, such as the health
humanities, disability studies, and decolonial teaching.
Throughout, authors reflect on what it is that we do when we
teach—how our pedagogies can be more meaningful, more impactful,
and more relevant. Published by Bucknell University Press.
Distributed worldwide by Rutgers University Press.
Elizabeth Cooper's The Rival Widows, or Fair Libertine provides a
unique opportunity to restore to scholarly and pedagogical
attention a neglected female writer and a play with broad and
significant implications for studies of eighteenth-century history,
culture and gender. Following the adventures of Lady Bellair, a
"glowing, joyous young Widow," the storyline regenders standard
expectations about desire, marriage, libertinism and sentiment. The
play has not been reprinted since 1735; therefore this old-spelling
edition gives scholars access to an important but neglected
resource for studies of women writers and eighteenth-century
theatre. In an original and extensive introduction, Tiffany Potter
presents cultural and historical information that highlights the
scholarly implications of this newly available play. She offers a
brief biographical sketch of the playwright; a summary of sources
for specific elements of the play; an overview of the theatrical
climate of the time (with particular focus on the conditions
leading to the Licensing Act of 1737); a discussion of the place of
women in eighteenth-century society; a summary of symbiotic
cultural discourses of libertinism and sensibility in the early
eighteenth century; and a discussion of the general cultural
significance of Cooper's demonstration of the malleability of
prescriptive gender roles. Further value is added to this edition
through its appendices, which reproduce documents relating to the
playwright Elizabeth Cooper and to the Licensing Act of 1737
(including the text of the Act itself).
In this timely collection, teacher-scholars of “the long
eighteenth century,” a Eurocentric time frame from about 1680 to
1832, consider what teaching means in this historical moment: one
of attacks on education, a global contagion, and a reckoning with
centuries of trauma experienced by Black, Indigenous, and immigrant
peoples. Taking up this challenge, each essay highlights the
intellectual labor of the classroom, linking textual and cultural
materials that fascinate us as researchers with pedagogical
approaches that engage contemporary students. Some essays offer
practical models for teaching through editing, sensory experience,
dialogue, or collaborative projects. Others reframe familiar texts
and topics through contemporary approaches, such as the health
humanities, disability studies, and decolonial teaching.
Throughout, authors reflect on what it is that we do when we
teach—how our pedagogies can be more meaningful, more impactful,
and more relevant. Published by Bucknell University Press.
Distributed worldwide by Rutgers University Press.
Literary scholars face a new and often baffling reality in the
classroom: students spend more time looking at glowing screens than
reading printed text. The social lives of these students take place
in cyberspace instead of the student pub. Their favorite narratives
exist in video games, not books. How do teachers who grew up in a
different world engage these students without watering down
pedagogy? Clint Burnham and Paul Budra have assembled a group of
specialists in visual poetry, graphic novels, digital humanities,
role-playing games, television studies, and, yes, even the
middle-brow novel, to address this question. Contributors give a
brief description of their subject, investigate how it confronts
traditional notions of the literary, and ask what contemporary
literary theory can illuminate about their text before explaining
how their subject can be taught in the 21st-century classroom.
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Frenchy Teaches Faith
Tiffany Potter; Illustrated by Vickie Valladares
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R370
Discovery Miles 3 700
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Ships in 10 - 15 working days
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Elizabeth Cooper's The Rival Widows, or Fair Libertine provides a
unique opportunity to restore to scholarly and pedagogical
attention a neglected female writer and a play with broad and
significant implications for studies of eighteenth-century history,
culture and gender. Following the adventures of Lady Bellair, a
"glowing, joyous young Widow," the storyline regenders standard
expectations about desire, marriage, libertinism and sentiment. The
play has not been reprinted since 1735; therefore this old-spelling
edition gives scholars access to an important but neglected
resource for studies of women writers and eighteenth-century
theatre. In an original and extensive introduction, Tiffany Potter
presents cultural and historical information that highlights the
scholarly implications of this newly available play. She offers a
brief biographical sketch of the playwright; a summary of sources
for specific elements of the play; an overview of the theatrical
climate of the time (with particular focus on the conditions
leading to the Licensing Act of 1737); a discussion of the place of
women in eighteenth-century society; a summary of symbiotic
cultural discourses of libertinism and sensibility in the early
eighteenth century; and a discussion of the general cultural
significance of Cooper's demonstration of the malleability of
prescriptive gender roles. Further value is added to this edition
through its appendices, which reproduce documents relating to the
playwright Elizabeth Cooper and to the Licensing Act of 1737
(including the text of the Act itself).
The most important female English novelist of the 1720s, Eliza
Haywood is famous for writing scandalous fiction about London
society. Fast-moving, controversial, and sometimes disturbing,
Haywood's short novels The Masqueraders and The Surprize are
valuable sources for the study of eighteenth-century gender and
identity, the social history of masquerade, the dangers of
courtship and seduction, and conceptions of elite and popular
cultures. Despite their common theme of masquerade and seduction,
the two short novels are a study in contrasts. The Masqueraders
features the whirl of London life, with a libertine anti-hero and
his serial seductions of women who believe that they can manipulate
the social conventions that are expected to limit them. The
Surprize, on the other hand, is an uncharacteristically sentimental
story in which a similarly salacious plot ends in rewards for the
good and virtuous. Well suited to the teaching of these two texts,
this volume contains annotated scholarly editions of both novels,
an extensive introduction, and useful appendices that discuss the
masquerade's role in eighteenth-century debates on gender,
morality, and identity.
In contemporary pop culture, the pursuits regarded as the most
frivolous are typically understood to be more feminine in nature
than masculine. This collection illustrates how ideas of the
popular and the feminine were assumed to be equally naturally
intertwined in the eighteenth century, and the ways in which that
association facilitates the ongoing trivialization of both. Top
scholars in eighteenth-century studies examine the significance of
the parallel devaluations of women's culture and popular culture by
looking at theatres and actresses; novels, magazines, and
cookbooks; and populist politics, dress, and portraiture. They also
assess how eighteenth-century women have been re-imagined in
contemporary historical fiction, films, and television, from the
works of award-winner Beryl Bainbridge to Darcymania and Pride and
Prejudice and Zombies. By reconsidering the cultural and social
practices of eighteenth-century women, this fascinating volume
reclaims the ostensibly trivial as a substantive cultural
contribution.
The first collection of critical essays on HBO's The Wire - the
most brilliant and socially relevant television series in years T
he Wire is about survival, about the strategies adopted by those
living and working in the inner cities of America. It presents a
world where for many even hope isn't an option, where life operates
as day-to-day existence without education, without job security,
and without social structures. This is a world that is only grey,
an exacting autopsy of a side of American life that has never seen
the inside of a Starbucks. Over its five season, sixty-episode run
(2002-2008), "The Wire "presented severall overlapping narrative
threads, all set in the city of Baltimore. The series consistently
deconstructed the conventional narratives of law, order, and
disorder, offering a view of America that has never before been
admitted to the public discourse of the televisual. It was bleak
and at times excruciating. Even when the show made metatextual
reference to its own world as Dickensian, it was too gentle by
half. By focusing on four main topics (Crime, Law Enforcement,
America, and Television), "The Wire: Urban Decay and American
Television "examines the series' place within popular culture and
its representation of the realities of inner city life, social
institutions, and politics in contemporary American society. This
is a brilliant collection of essays on a show that has taken the
art of television drama to new heights.
With its fourth season due to air in January 2008, the
award-winning Battlestar Galactica continues to be exceptionally
popular for non-network television, combining the familiar features
of science fiction with direct commentary on life in mainstream
America. Cylons in America is the first collection of critical
studies of Battlestar Galactica (its 2003 miseries, and the ongoing
2004 television series), examining its place within popular culture
and its engagement with contemporary American society. Battlestar
Galactica depicts the remnants of the human race fleeing across
space from a robotic enemy called the Cylons. The fleet is
protected by a single warship, the Battlestar, and is searching for
a "lost colony" that settled on the legendary planet "Earth."
Originally a television series in the 1970s, the current series
maintains the mythic sense established with the earlier quest
narrative, but adds elements of hard science and aggressive
engagement with post-9/11 American politics. Cylons In America
casts a critical eye on the revived series and is sure to appeal to
fans of the show, as well as to scholars and researchers of
contemporary television.
In contemporary pop culture, the pursuits regarded as the most
frivolous are typically understood to be more feminine in nature
than masculine. This collection illustrates how ideas of the
popular and the feminine were assumed to be equally naturally
intertwined in the eighteenth century, and the ways in which that
association facilitates the ongoing trivialization of both.
Top scholars in eighteenth-century studies examine the
significance of the parallel devaluations of women's culture and
popular culture by looking at theatres and actresses; novels,
magazines, and cookbooks; and populist politics, dress, and
portraiture. They also assess how eighteenth-century women have
been re-imagined in contemporary historical fiction, films, and
television, from the works of award-winner Beryl Bainbridge to
Darcymania and Pride and Prejudice and Zombies. By reconsidering
the cultural and social practices of eighteenth-century women, this
fascinating volume reclaims the ostensibly trivial as a substantive
cultural contribution.
Pontiac, or Ponteach, was a Native American leader who made war
upon the British in what became known as Pontiac's Rebellion (1763
to 1766). One of the earliest accounts of Pontiac is a play,
written in 1766 by the famous frontier soldier Robert Rogers, of
the Rangers. Ponteach, or the Savages of America is one of the only
early dramatic works composed by an author with personal knowledge
of the Indigenous nations of North America. Important both as a
literary work and as a historical document, Ponteach interrogates
eighteenth-century Europe's widespread ideological constructions of
Indigenous peoples as either innocent and noble savages, or
monstrous and violent Others.
Presented for the first time in a fully annotated edition,
Ponteach takes on questions of nationalism, religion, race,
cultural identity, gender, and sexuality; the play offers a unique
perspective on the Rebellion and on the emergence of Canadian and
American identities. Tiffany Potter's edition is supplemented by an
introduction that critically and contextually frames the play, as
well as by important appendices, including Rogers' ethnographic
accounts of the Great Lakes nations.
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