This 6th edition has been updated and revised to take account of current trends within education and the HLT industries, including changes brought about by COVID and Brexit, as well the impact of the increasing use kitchen/service robotics, changes to allergen regulations and issues of sustainability and business ethics.
Sensible Ecstasy investigates the attraction to excessive forms of mysticism among twentieth-century French intellectuals and demonstrates the work that the figure of the mystic does for these thinkers. With special attention to Georges Bataille, Simone de Beauvoir, Jacques Lacan, and Luce Irigaray, Amy Hollywood asks why resolutely secular, even anti-Christian intellectuals are drawn to affective, bodily, and widely denigrated forms of mysticism. What is particular to these thinkers, Hollywood reveals, is their attention to forms of mysticism associated with women. They regard mystics such as Angela of Foligno, Hadewijch, and Teresa of Avila not as emotionally excessive or escapist, but as unique in their ability to think outside of the restrictive oppositions that continue to afflict our understanding of subjectivity, the body, and sexual difference. Mystics such as these, like their twentieth-century descendants, bridge the gaps between action and contemplation, emotion and reason, and body and soul, offering new ways of thinking about language and the limits of representation.
Emery develops the concept of an "anthropological imagination" - that is, the conjunction of anthropology and fiction in twentieth-century Latin American literature. Emery also gives consideration to documentary and testimonial writings.
Bringing together the previously disparate fields of historical witchcraft, reception history, poetics, and psychoanalysis, this innovative study shows how the glamour of the historical witch, a spell that she cast, was set on a course, over a span of three hundred years from the sixteenth to the eighteenth centuries, to become a generally broadcast glamour of appearance. Something that a woman does, that is, became something that she has. The antique heroine Medea, witch and barbarian, infamous poisoner, infanticide, regicide, scourge of philanderers, and indefatigable traveller, serves as the vehicle of this development. Revived on the stage of modernity by La Péruse in the sixteenth century, Corneille in the seventeenth, and the operatic composer Cherubini in the eighteenth, her stagecraft and her witchcraft combine, author Amy Wygant argues, to stun her audience into identifying with her magic and making it their own. In contrast to previous studies which have relied upon contemporary printed sources in order to gauge audience participation in and reaction to early modern theater, Wygant argues that psychoanalytic thought about the behavior of groups can be brought to bear on the question of "what happened" when the early modern witch was staged. This cross-disciplinary study reveals the surprising early modern trajectory of our contemporary obsession with magic. Medea figures the movement of culture in history, and in the mirror of the witch on the stage, a mirror both appealing and appalling, our own cultural performances are reflected. It concludes with an analysis of Diderot's claim that the historical process itself is magical, and with the moment in Revolutionary France when the slight and fragile body of the golden-throated singer, Julie-Angélique Scio, became a Medea for modernity: not a witch or a child-murderess, but, as all the press reviews insist, a woman.
Martin Luther King Jr., uprisings in American cities, student protests around the world, the rise of the Black Power movement, and decolonization and apartheid in Africa.".
From late medieval reenactments of the Deposition from the Cross to Sol Lewitt’s “Buried Cube,” Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely — no truer to their first appearance than to their later reappearances. In Depositions, Amy Knight Powell makes the case that late medieval paintings and ritual reenactments of the Deposition from the Cross not only picture the deposition of Christ (the imago Dei) but also allegorize the deposition of the image as such and, in so doing, prefigure the lowering of “dead images” during the Protestant Reformation. Late medieval pre-figurations of Reformation iconoclasm anticipate, in turn, the repeated “deaths” of art since the advent of photography: that is the premise of the vignettes devoted to twentieth-century works of art that conclude each chapter of this book. In these vignettes, images that once stood in late medieval churches now find themselves among works of art from the more recent past with which they share certain formal characteristics. These surreal encounters compel us to reckon with affinities between images from different times and places. Turning on its head the pejorative (art-historical) use of the term pseudomorphosis — formal resemblance where there is no similarity of artistic intent — Powell explores what happens to our understanding of historically and conceptually distant works of art when they look alike.
Amy Wygant reads Racine's ""Phedre"" (1677) through an analysis of its 17th-century cultural contexts and a consideration of its subsequent reception history. She explores the construction of Racinian language as ""musical"", the poetics of the Racinian gaze, and Racine's labyrinthine eros of memory and forgetting. Reference is made to Lully's operas, the battle between the advocates of colour and the champions of drawing in the Royal Academy of Painting and Sculpture, and Le Notre's centreless garden labyrinth at Versailles. These close textual and contextual studies relate the detail of the tragedy to the conceptual sweep of 17th-century absolutism. Wygant's interdisciplinary study draws on the music history, as well as on emblematics, the history of the formal garden and the arts of memory. Racine's great threnody, the ""recit de Theramene"", is shown as representative of expressions of loss which lie at the root of early modern literature.
Journalist Amy Haimerl and her husband had been priced out of their Brooklyn neighborhood. Seeing this as a great opportunity to start over again, they decide to cash in their savings and buy an abandoned house for 35,000 in Detroit, the largest city in the United States to declare bankruptcy. As she and her husband restore the 1914 Georgian Revival, a stately brick house with no plumbing, no heat, and no electricity, Amy finds a community of Detroiters who, like herself, aren't afraid of a little hard work or things that are a little rough around the edges. Filled with amusing and touching anecdotes about navigating a real-estate market that is rife with scams, finding a contractor who is a lover of C.S. Lewis and willing to quote him liberally, and neighbors who either get teary-eyed at the sight of newcomers or urge Amy and her husband to get out while they can, Amy writes evocatively about the charms and challenges of finding her footing in a city whose future is in question. Detroit Hustle is a memoir that is both a meditation on what it takes to make a house a home, and a love letter to a much-derided city.
Fifth edition of the best-selling textbook updated and revised to take account of current trends such as the experience economy, CSR, connectivity and smart controls, and allergen and data protection laws.
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