Challenges the myths about apathy and smugness surrounding British literature of the period.Alice Ferrebe's lively study rereads the decade and its literature as crucial in twentieth-century British history for its emergent and increasingly complicated politics of difference, as ideas about identity, authority and belonging were tested and contested. By placing a diverse selection of texts alongside those of the established canon of Movement and 'Angry' writing, a literary culture of true diversity and depth is brought into view. The volume characterises the 1950s as a time of confrontation with a range of concerns still avidly debated today, including immigration, education, the challenging behaviour of youth, nuclear threat, the post-industrial and post-imperial legacy, a consumerist economy and a feminist movement hampered by the perceivedly comprehensive nature of its recent success. Contrary to Jimmy Porter's defeatist judgement on his era in John Osborne's 1956 play Look Back in Anger, the volume upholds such concerns as 'good, brave causes' indeed.
This lively study challenges the myths about apathy and smugness surrounding British literature of the period. It rereads the decade and its literature as crucial in twentieth-century British history for its emergent and increasingly complicated politics
Warren Edward Armstrong Jabali was my hero. In the hearts of his family and friends across the country, he was a superstar. Known for his basketball feats at Central High School (1962-1964), Wichita State University (1964-1968), and in the American Basketball Association (ABA) 1968-1976, this book presents an uplifting story of how a man, labeled as "one of the two meanest men in the ABA," overcame the vilification of his character. By positively channeling his energy on the educational empowerment of African American youth, he became an extraordinary role model and father figure for many in South Florida. Divided into two sections, the first part of the book is Warren's incomplete manuscript. He described the wide ranging cultural attitudes, political environment and social conditions which motivated his actions and profoundly affected his basketball career. it is supplemented by newspaper articles and interviews in which he discussed various controversial topics and elaborated on the skills and legacies of his contemporaries. The last half is written by the "love of his life." A very complex and private person, the section illustrates multiple aspects of his personality which portray an intimate understanding of him that only someone he cherished could ever reveal. This narrative validates the strength of his character as he boldly faced personal challenges. It demonstrates his unwavering commitment to education as he persevered in his lifelong pursuit for equality. Additionally, it highlights how benevolent his interpersonal relationships were as he journeyed along the road less traveled
The Cinema and Its Shadow argues that race has defined the cinematic apparatus since the earliest motion pictures, especially at times of technological transition. In particular, this work explores how racial difference became central to the resolving of cinematic problems: the stationary camera, narrative form, realism, the synchronization of image and sound, and, perhaps most fundamentally, the immaterial image—the cinema’s “shadow,” which figures both the material reality of the screen image and its racist past. Discussing early “race subjects,” Alice Maurice demonstrates that these films influenced cinematic narrative in lasting ways by helping to determine the relation between stillness and motion, spectacle and narrative drive. The book examines how motion picture technology related to race, embodiment, and authenticity at specific junctures in cinema’s development, including the advent of narratives, feature films, and sound. In close readings of such films as The Cheat, Shadows, and Hallelujah!, Maurice reveals how the rhetoric of race repeatedly embodies film technology, endowing it with a powerful mix of authenticity and magic. In this way, the racialized subject became the perfect medium for showing off, shoring up, and reintroducing the cinematic apparatus at various points in the history of American film. Moving beyond analyzing race in purely thematic or ideological terms, Maurice traces how it shaped the formal and technological means of the cinema.
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