The Work of Difference addresses a fundamental ontological question: What is literature? And at the heart of this question, it argues, is the problem of the new. How is it that new works or new forms are possible within the rule-governed orders of history, language use, or the social? How are new works in turn recognizable to already-existing institutions? Tracing the relationship between literature and the problem of newness back to a set of concerns first articulated in early German romanticism, this book goes on to mount a critique of romantic tendencies in contemporary criticism in order, ultimately, to develop an original theory of literary production. Along the way, it offers new readings of major modernist novels by Samuel Beckett, Marcel Proust, and Gertrude Stein.
The Work of Difference addresses a fundamental ontological question: What is literature? And at the heart of this question, it argues, is the problem of the new. How is it that new works or new forms are possible within the rule-governed orders of history, language use, or the social? How are new works in turn recognizable to already-existing institutions? Tracing the relationship between literature and the problem of newness back to a set of concerns first articulated in early German romanticism, this book goes on to mount a critique of romantic tendencies in contemporary criticism in order, ultimately, to develop an original theory of literary production. Along the way, it offers new readings of major modernist novels by Samuel Beckett, Marcel Proust, and Gertrude Stein.
This is an historical fiction about Magdalena Moser Felber who left Bern, Switzerland in 1883 to immigrate to America. Leaving her husband behind in prison, she and her six children, ages 3 months to 14, made the difficult ship voyage in steerage to join her father and siblings in Berne, Indiana
With more than 250 images, new information on international cinema—especially Polish, Chinese, Russian, Canadian, and Iranian filmmakers—an expanded section on African-American filmmakers, updated discussions of new works by major American directors, and a new section on the rise of comic book movies and computer generated special effects, this is the most up to date resource for film history courses in the twenty-first century.
Audrey Wilson was born in England and grew up in the twenties in the country and London when milk was still delivered in bottles by pony and cart. She was bombed out in the Blitz of l940 and spent four months in a public shelter. She joined the Womens Royal Naval Service, W.R N.S., and, after training as a radio technician, was assigned to MI-5 to listen to German U-boat communications. After the invasion in l944 she was sent to London to translate captured German documents at the time of the V1 and V2 rocket bombs. After the war she married an American musician who taught piano at FSU Music School. Audreys husband died young and she was left with three young boys and no college education. She took her B.A in English Summa cum Laude at Florida State University 1968, M.A. 1969, and Ph.D. in Humanities in 72. She taught Humanities from 1969 through 1997 at FSU. She taught at the Florence Center for six months in 1980. She also accompanied student groups on several occasions to Europe, teaching Art History.
A Short History of Film, Second Edition, provides a concise and accurate overview of the history of world cinema, detailing the major movements, directors, studios, and genres from 1896 through 2012. Accompanied by more than 250 rare color and black-and-white stills—including many from recent films—the new edition is unmatched in its panoramic view, conveying a sense of cinema's sweep in the twentieth and early twenty-first centuries as it is practiced in the United States and around the world. Wheeler Winston Dixon and Gwendolyn Audrey Foster present new and amended coverage of the industry in addition to updating the birth and death dates and final works of notable directors. Their expanded focus on key films brings the book firmly into the digital era and chronicles the death of film as a production medium. The book takes readers through the invention of the kinetoscope, the introduction of sound and color between the two world wars, and ultimately the computer-generated imagery of the present day. It details significant periods in world cinema, including the early major industries in Europe, the dominance of the Hollywood studio system in the 1930s and 1940s, and the French New Wave of the 1960s. Attention is given to small independent efforts in developing nations and the more personal independent film movement that briefly flourished in the United States, the significant filmmakers of all nations, and the effects of censorship and regulation on production everywhere. In addition, the authors incorporate the stories of women and other minority filmmakers who have often been overlooked in other texts. Engaging and accessible, this is the best one-stop source for the history of world film available for students, teachers, and general audiences alike.
A sweeping intellectual biography that restores the Enlightenment polymath to the intellectual, scientific, and courtly worlds that shaped his early life and thought Described by Voltaire as “perhaps a man of the most universal learning in Europe,” Gottfried Wilhelm Leibniz (1646–1716) is often portrayed as a rationalist and philosopher who was wholly detached from the worldly concerns of his fellow men. Leibniz in His World provides a groundbreaking reassessment of Leibniz, telling the story of his trials and tribulations as an aspiring scientist and courtier navigating the learned and courtly circles of early modern Europe and the Republic of Letters. Drawing on extensive correspondence by Leibniz and many leading figures of the age, Audrey Borowski paints a nuanced portrait of Leibniz in the 1670s, during his “Paris sojourn” as a young diplomat and in Germany at the court of Duke Johann Friedrich of Hanover. She challenges the image of Leibniz as an isolated genius, revealing instead a man of multiple identities whose thought was shaped by a deep engagement with the social and intellectual milieus of his time. Borowski shows us Leibniz as he was known to his contemporaries, enabling us to rediscover him as an enigmatic young man who was complex and all too human. An exhilarating work of scholarship, Leibniz in His World demonstrates how this uncommon intellect, torn between his ideals and the necessity to work for absolutist states, struggled to make a name for himself during his formative years.
“Non-fluent Aphasia in a Multilingual World” is an up-to-date introduction to the language of patients with non-fluent aphasia. Recent research in languages other than English has challenged our old descriptions of aphasia syndromes: while their patterns can be recognized across languages, the structure of each language has a profound effect on the symptoms of aphasic speech. However, the basic linguistic concepts needed to understand these effects in languages other than English have rarely been part of the training of the clinician. “Non-fluent Aphasia in a Multilingual World” introduces these concepts plainly and concretely, in the context of dozens of examples from the narratives and conversations of patients speaking most of the major languages of Europe, North America and Asia. Linguistic and clinical terms are carefully defined and kept as theory neutral as possible. “Non-Fluent Aphasia in a Multilingual World” is especially useful for speech-language pathologists whose patients are immigrants and guestworkers, and for the clinician who must deal creatively with the challenges of providing aphasia diagnosis and therapy in a multicultural, multidialectical setting.
Artists' books have emerged over the last 25 years as the quintessential contemporary art form, addressing subjects as diverse as poetry and politics, incorporating a full spectrum of artistic media and bookmaking methods, and taking every conceivable form. Female painters, sculptors, calligraphers, and printmakers, as well a growing community of hobbyists, have played a primary role in developing this new mode of artistic expression. The Book as Art presents more than 100 of the most engaging women's artist books created by major fine artists such as Meret Oppenheim, May Stevens, Kara Walker, and Renee Stout and distinguished book artists such as Susan King, Ruth Laxson, Claire Van Vliet, and Julie Chen. Culled from over 800 unique or limited-edition volumes held by the National Museum of Women in the Arts, these books explore the form as a container for ideas. Descriptions of the works are accompanied by colorful illustrations and reflections by their makers, along with essays by leading scholars and a lively introduction by the most famous book artist in our culture, best-selling author Audrey Niffenegger. The exquisitely crafted objects in the The Book as Art are sure to provoke unexpected and surprising conclusions about what constitutes a book. The Book as Art accompanies the exhibition of the same name at the Museum of Women in the Arts in Washington, D.C., beginning in October 2006.
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