No university affiliations. No half-truths. No out-of-touch authors who haven't been in school for decades. A class project turned company, College Prowler produces guidebooks that are written by actual college students and cover the things students really want to know. Unlike other guides that jam everything into a five-pound book and devote only two pages to each college, our single-school guidebooks give students only the schools they want and all the information they need. From academics and diversity to nightlife and sports, we let the students tell it how it is. In addition to editorial reviews and grades for 20 different topics, more than 80 percent of each guide is composed of actual student reviews of their school. Whether readers are looking for "Best and Worst" lists, "Did You Knows?" or traditions, College Prowler guides have it all. Our books are the only place for local slang, urban legends, and tips on the best places to find a date, study, or grab a bite to eat.
Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle. Using profound experiments in form and composition, including jarring editing, extreme close-ups, visual disorientation and sounds that straddle the boundary between non-diegetic and diegetic registers, this mode of cinema dwells instead on the exhibition of intense violence and an acute intimacy with the sexual body. Interrogating works such as Wetlands and A Serbian Film, as well as the sub-culture of YouTube 'reaction videos', Aaron Michael Kerner and Jonathan L. Knapp demonstrate the way content and form combine in extreme cinema to affectively manipulate the viewing body.
Jewish Languages from A to Z provides an engaging and enjoyable overview of the rich variety of languages spoken and written by Jews over the past three thousand years. The book covers more than 50 different languages and language varieties. These include not only well-known Jewish languages like Hebrew, Yiddish, and Ladino, but also more exotic languages like Chinese, Esperanto, Malayalam, and Zulu, all of which have a fascinating Jewish story to be told. Each chapter presents the special features of the language variety in question, a discussion of the history of the associated Jewish community, and some examples of literature and other texts produced in it. The book thus takes readers on a stimulating voyage around the Jewish world, from ancient Babylonia to 21st-century New York, via such diverse locations as Tajikistan, South Africa, and the Caribbean. The chapters are accompanied by numerous full-colour photographs of the literary treasures produced by Jewish language-speaking communities, from ancient stone inscriptions to medieval illuminated manuscripts to contemporary novels and newspapers. This comprehensive survey of Jewish languages is designed to be accessible to all readers with an interest in languages or history, regardless of their background—no prior knowledge of linguistics or Jewish history is assumed.
The Solitary Sphere in the Age of Virgil uses an enriched tripartite model of Roman culture-touching not only the public and the private, but also the solitary-in order to present a radical re-interpretation of Latin literature and of the historical causes of this third sphere's relative invisibility in scholarship. By connecting Cosmos and Imperium to the Individual, the solitary sphere was not so much a way of avoiding politics, as a political education in itself. As re-imagined by literature in this age literature, this sphere was an essential space for the formation of the new Roman citizen of the Augustan revolution, and was behind many of the notable features of the literary revolution of Virgil's age: the expansion of the possibilities of the book of poetry, the birth of the literary cursus, new coordinations of cosmology and politics within strictly organized schemes, the attraction of first-person genres, and the subjective style. Through close readings of Cicero's late works and the oeuvres of Virgil, Horace, and Propertius and the works of other authors in the age of Virgil, The Solitary Sphere thus presents a revelatory reassessment of the classicism of classical Roman literature, and contributes to the study of pre-modern culture more generally, especially for traditions that have taken antiquity as too fixed a point in their own literary, religious, and cultural histories.
The Texture of the Divine explores the central role of the imagination in the shared symbolic worlds of medieval Islam and Judaism. Aaron W. Hughes looks closely at three interrelated texts known as the Hayy ibn Yaqzan cycle (dating roughly from 1000--1200 CE) to reveal the interconnections not only between Muslims and Jews, but also between philosophy, mysticism, and literature. Each of the texts is an initiatory tale, recounting a journey through the ascending layers of the universe. These narratives culminate in the imaginative apprehension of God, in which the traveler gazes into the divine presence. The tales are beautiful and poetic literary works as well as probing philosophical treatises on how the individual can know the unknowable. In this groundbreaking work, Hughes reveals the literary, initiatory, ritualistic, and mystical dimensions of medieval Neoplatonism. The Texture of the Divine also includes the first complete English translation of Abraham Ibn Ezra's Hay ben Meqitz.
From ancient Greek theory to the explosive discoveries of the 20th century, this authoritative history shows how major chemists, their discoveries, and political, economic, and social developments transformed chemistry into a modern science. 209 illustrations. 14 tables. Bibliographies. Indices. Appendices.
This book explores the stupid as it manifests in media—the cinema, television and streamed content, and videogames. The stupid is theorized not as a pejorative term but to address media that “fails” to conform to established narrative conventions, often surfacing at evolutionary moments. The Transformers franchise is often dismissed as being stupid because its stylistic vernacular privileges kinetic qualities over conventional narration. Similarly, the stupid is often present in genre fails like mother!, or in instances of narrative dissonance—joyously in Adventure Time; more controversially in Gone Home— where a story “feels off” It also manifests in “ludonarrative dissonance” when gameplay and narrative seemingly run counter to one another in videogames like Undertale and Bioshock. This book is addressed to those interested in media that is quirky, spectacle-driven, or generally hard to place—stupid!
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