Britains Bloodless Revolutions: 1688 and the Romantic Reform of Literature
Author: Anthony S. Jarrells File Type: pdf Britains Bloodless Revolutionsexplores the relationship of the emerging category of Literature to the emerging threat of popular violence after the Bloodless Revolution. The book argues that at a time when the political nature of the Bloodless Revolution became a subject of debate--in the period defined by Frances famously bloody revolution--Literature emerged as a kind of political institutionand constituted a bloodless revolution in its own right.
Author: Marjorie Shostak
File Type: pdf
ReviewWhen I reread Nisa, as I have done regularly in teaching over the years, I experience its originality, poignancy, and excitement afresh each time. Few books that were so influential in changing the look and feel of ethnography for entire generations of anthropologists have held up so well. It is a classic, with currency and continuing possibility.--George Marcus, Professor of Anthropology, Rice University[A] scrupulous, sad, exciting book. (New York Times )We have a remarkable anthropologist to thank for an absorbing account. (New York Review of Books )Both Nisa and Shostak are unusual people, and their collaboration has resulted in an unparalleled account of !Kung life from a personal rather than social or ecological perspective. Even more important, their work results in a revelation of the universality of womens experiences and feelings despite vast differences in culture and society. Nisa helps us know what it means to be !Kung, to be a woman, and finally, to be human. (Choice ) ReviewWhen I reread Nisa, as I have done regularly in teaching over the years, I experience its originality, poignancy, and excitement afresh each time. Few books that were so influential in changing the look and feel of ethnography for entire generations of anthropologists have held up so well. It is a classic, with currency and continuing possibility.--George Marcus, Professor of Anthropology, Rice University
Author: Paul Crowther
File Type: pdf
Postmodernism in the visual arts is not just another ism. It emerged in the 1960s as a transformation of artistic creativity inspired by Duchamps idea that the artwork does not have to be physically made by its creator. Products of mass culture and technology can be used just as well as traditional media. This idea became influential because of a widespread naturalization of technology - where technology becomes something lived in as well as used. Postmodern art embodies this attitude. To explain why, Paul Crowther investigates topics such as eclecticism, the sublime, deconstruction in art and philosophy, and Paolozzis Wittgenstein-inspired works. ***About the Author Paul Crowther is Professor of Philosophy at Alma Mater Europaea Institutum Studiorum Humanitatis in Slovenia.
Author: Tony Judt
File Type: pdf
Using the lives of the three outstanding French intellectuals of the twentieth century, renowned historian Tony Judt offers a unique look at how intellectuals can ignore political pressures and demonstrate a heroic commitment to personal integrity and moral responsibility unfettered by the difficult political exigencies of their time. Through the prism of the lives of Leon Blum, Albert Camus, and Raymond Aron, Judt examines pivotal issues in the history of contemporary French societyantisemitism and the dilemma of Jewish identity, political and moral idealism in public life, the Marxist moment in French thought, the traumas of decolonization, the disaffection of the intelligentsia, and the insidious quarrels rending Right and Left. Judt focuses particularly on Blums leadership of the Popular Front and his stern defiance of the Vichy governments, on Camuss part in the Resistance and Algerian War, and on Arons cultural commentary and opposition to the facile acceptance by many French intellectuals of communisms utopian promise. Severely maligned by powerful critics and rivals, each of these exemplary figures stood fast in their principles and eventually won some measure of personal and public redemption. Judt constructs a compelling portrait of modern French intellectual life and politics. He challenges the conventional account of the role of intellectuals precisely because they mattered in France, because they could shape public opinion and influence policy. In Blum, Camus, and Aron, Judt finds three very different men who did not simply play the role, but evinced a courage and a responsibility in public life that far outshone their contemporaries. An eloquent and instructive study of intellectual courage in the face of what the author persuasively describes as intellectual irresponsibility.Richard Bernstein, New York Times
Author: William J. Maxwell
File Type: pdf
Few institutions seem more opposed than African American literature and J. Edgar Hoovers white-bread Federal Bureau of Investigation. But behind the scenes the FBIs hostility to black protest was energized by fear of and respect for black writing. Drawing on nearly 14,000 pages of newly released FBI files, F.B. Eyes exposes the Bureaus intimate policing of five decades of African American poems, plays, essays, and novels. Starting in 1919, year one of Harlems renaissance and Hoovers career at the Bureau, secretive FBI ghostreaders monitored the latest developments in African American letters. By the time of Hoovers death in 1972, these ghostreaders knew enough to simulate a sinister black literature of their own. The official aim behind the Bureaus close reading was to anticipate political unrest. Yet, as William J. Maxwell reveals, FBI surveillance came to influence the creation and public reception of African American literature in the heart of the twentieth century. Taking his title from Richard Wrights poem The FB Eye Blues, Maxwell details how the FBI threatened the international travels of African American writers and prepared to jail dozens of them in times of national emergency. All the same, he shows that the Bureaus paranoid style could prompt insightful criticism from Hoovers ghostreaders and creative replies from their literary targets. For authors such as Claude McKay, James Baldwin, and Sonia Sanchez, the suspicion that government spy-critics tracked their every word inspired rewarding stylistic experiments as well as disabling self-censorship. Illuminating both the serious harms of state surveillance and the ways in which imaginative writing can withstand and exploit it, F.B. Eyes is a groundbreaking account of a long-hidden dimension of African American literature. **
Author: Mary Jane Jacob
File Type: pdf
Chicago is a city dedicated to the modernfrom the skyscrapers that punctuate its skyline to the spirited style that inflects many of its dwellings and institutions, from the New Bauhaus to Hull-House. Despite this, the city has long been overlooked as a locus for modernism in the arts, its rich tradition of architecture, design, and education disregarded. Still the modern in Chicago continues to thrive, as new generations of artists incorporate its legacy into fresh visions for the future. Chicago Makes Modern boldly remaps twentieth-century modernism from our new-century perspective by asking an imperative question How did the modern minddeeply reflective, yet simultaneously directedhelp to dramatically alter our perspectives on the world and make it new? Returning the city to its rightful position at the heart of a multidimensional movement that changed the face of the twentieth century, Chicago Makes Modern applies the missions of a brilliant group of innovators to our own time. From the radical social and artistic perspectives implemented by Jane Addams, John Dewey, and Buckminster Fuller to the avant-garde designs of Laszlo Moholy-Nagy and Mies van der Rohe, the prodigious offerings of Chicagos modern minds left an indelible legacy for future generations. Staging the city as a laboratory for some of our most heralded cultural experiments, Chicago Makes Modern reimagines the modern as a space of self-realization and social progresswhere individual visions triggered profound change. Featuring contributions from an acclaimed roster of contemporary artists, critics, and scholars, this book demonstrates how and why the Windy City continues to drive the modern world. **
Author: Michael Marder
File Type: pdf
We entrust readers with thirty fragments of reflections, meditations, recollections, and images - one for each year that has passed since the explosion that rocked and destroyed a part of the Chernobyl nuclear power station in April 1986. The aesthetic visions, thoughts, and experiences that have made their way into this book hover in a grey region between the singular and self-enclosed, on the one hand, and the generally applicable and universal, on the other. Through words and images, we wish to contribute our humble share to a collaborative grappling with the event of Chernobyl. Unthinkable and unrepresentable as it is, we insist on the need to reflect upon, signify, and symbolize it, taking stock of the consciousness it fragmented and, perhaps, cultivating another, more environmentally attuned way of living. **About the Author Michael Marder is Ikerbasque Research Professor in the Department of Philosophy at the University of the Basque Country, Vitoria-Gasteiz. He is the Associate Editor of Telos A Quarterly Journal of Critical Thought and the author of The Event of The Thing Derridas Post-Deconstructive Realism (2009), Groundless Existence The Political Ontology of Carl Schmitt (2010), Plant-Thinking A Philosophy of Vegetal Life (2013), The Philosophers Plant An Intellectual Herbarium (2014), and Phenomena-Critique-Logos The Project of Critical Phenomenology (2014).
Author: John; Mohr, Jean Berger
File Type: epub
In one of the most eloquent accounts of photography ever devised (originally published in 1982 and unavailable for many years), the writer John Berger and the photographer Jean Mohr set out to understand the fundamental nature of photography and how it makes its impact. brbbbrAsking a range of questions – What is a photograph? What do photographs mean? How can they be used? – they give their answers in terms of a photograph as a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photography are often contradictory. From these beginnings they develop a theory of photography that has at its centre the forms essential ambiguity, arguing that photography is totally unlike a film and has nothing to do with reportage. Rather, it constitutes another way of telling.brbrThe unique combination of critic and photographer results in a work that moves beyond the landmarks established by Walter...
Author: Branden W. Joseph
File Type: pdf
div contentInfoDiv Fall 2011, No. 45, Pages 128-150 Posted Online December 5, 2011. div (doi10.1162GREY_a_00053) 2011 by Grey Room, Inc. and the Massachusetts Institute of Technology. div htmlContentp fulltexth1 arttitlediv hlFld-TitleBiomusich1div artAuthorsdiv hlFld-ContribAuthorspan hlFld-ContribAuthor Branden W. Josephspanp fulltext nospacebBranden W. Josephb is the Frank Gallipoli Professor of Modern and Contemporary Art in the Department of Art History and Archaeology at Columbia University and a founding editor of Grey Room. He is author of Beyond the Drea m Syndicate Tony Conrad and the Arts after Cage (Zone Books, 2008), Anthony McCall The Solid Light Films and Related Works (Northwestern University Press, 2005), and Random Order Robert Rauschenberg and the Neo-Avant-Garde (MIT Press, 2003), as well as numerous scholarly essays and articles in the fields of contemporary art, music, and cinema.p fulltext