An incisive examination of how pundits and politicians manufactured the campus free speech crisis--and created a genuine challenge to academic freedom in the process. If we listen to the politicians and pundits, college campuses have become fiercely ideological spaces where students unthinkingly endorse a liberal orthodoxy and forcibly silence anyone who dares to disagree. These commentators lament the demise of free speech and academic freedom. But what is really happening on college campuses? Campus Misinformation shows how misinformation about colleges and universities has proliferated in recent years, with potentially dangerous results. Popular but highly misleading claims about a so-called free speech crisis and a lack of intellectual diversity on college campuses emerged in the mid-2010s and continue to shape public discourse about higher education across party lines. Such disingenuous claims impede constructive deliberation about higher learning while normalizing suspect ideas about First Amendment freedoms and democratic participation. Taking a non-partisan approach, Bradford Vivian argues that reporting on campus culture has grossly exaggerated the importance and representativeness of a small number of isolated events; misleadingly advocated for an artificial parity between liberals and conservatives as true viewpoint diversity; mischaracterized the use of trigger warnings and safe spaces; and purposefully confused critique and protest with censorship and "cancel culture." Organizations and think tanks generate pseudoscientific data to support this discourse, then advocate for free speech in highly specific ways that actually limit speech in general. In the name of free speech and viewpoint diversity, we now see restrictions on the right to protest and laws banning certain books, theories, and subjects from schools. By deconstructing the political and rhetorical development of the free speech crisis, Vivian not only provides a powerful corrective to contemporary views of higher education, but provides a blueprint for readers to identify and challenge misleading language--and to understand the true threats to our freedoms.
Forgetting is usually juxtaposed with memory as its opposite in a negative way: it is seen as the loss of the ability to remember, or, ironically, as the inevitable process of distortion or dissolution that accompanies attempts to commemorate the past. The civic emphasis on the crucial importance of preserving lessons from the past to prevent us from repeating mistakes that led to violence and injustice, invoked most poignantly in the call of “Never again” from Holocaust survivors, tends to promote a view of forgetting as verging on sin or irresponsibility. In this book, Bradford Vivian hopes to put a much more positive spin on forgetting by elucidating its constitutive role in the formation and transformation of public memory. Using examples ranging from classical rhetoric to contemporary crises like 9/11, Public Forgetting demonstrates how, contrary to conventional wisdom, communities may adopt idioms of forgetting in order to create new and beneficial standards of public judgment concerning the lessons and responsibilities of their shared past.
Commonplace Witnessing examines how citizens, politicians, and civic institutions have adopted idioms of witnessing in recent decades to serve a variety of social, political, and moral ends. The book encourages us to continue expanding and diversifying our normative assumptions about which historical subjects bear witness and how they do so. Commonplace Witnessing presupposes that witnessing in modern public culture is a broad and inclusive rhetorical act; that many different types of historical subjects now think and speak of themselves as witnesses; and that the rhetoric of witnessing can be mundane, formulaic, or popular instead of rare and refined. This study builds upon previous literary, philosophical, psychoanalytic, and theological studies of its subject matter in order to analyze witnessing, instead, as a commonplace form of communication and as a prevalent mode of influence regarding the putative realities and lessons of historical injustice or tragedy. It thus weighs both the uses and disadvantages of witnessing as an ordinary feature of modern public life.
The 80s was a time of blue eye shadow, synthesized music and leather-clad assess. There were telephone cords wrapped around bright nails and mixed tapes recorded on the radio, marked with Niko pens. Men got perms, bangles were worn by the dozen and neon was considered religion. It was also the time of the 80s hard rock, hair band. When Jorga, a high school dance teacher, went to see her favourite band on tour, she never imagined she would fall for the lead guitarist. Despite living completely different lives, it was the love they had both been waiting for, one that would change them forever. But Vivian had emerged from a childhood of violence and unkindness. He was broken, and until Jorga, had sought solace in the bottle. It was a love like no other but would it be enough to make up for wrongdoings done thirty years ago? And could Jorga, a person who built her life around body harmony, love Vivian enough to keep the demons at bay?
By elaborating upon pivotal twentieth-century studies in language, representation, and subjectivity, Being Made Strange reorients the study of rhetoric according to the discursive formation of subjectivity. The author develops a theory of how rhetorical practices establish social, political, and ethical relations between self and other, individual and collectivity, good and evil, and past and present. He produces a novel methodology that analyzes not only what an individual says, but also the social, political, and ethical conditions that enable him or her to do so. This book also offers valuable ethical and political insights for the study of subjectivity in philosophy, cultural studies, and critical theory.
A product of rape, prostitution, and the heir apparent to an illegal empire, Katlin comes face to face with an enemy she cant handle. Katlin rises from the ashes of a life steeped in the crude and vile obsessions of prostitution as the protg of a Madame who takes her under her wings, educates her and gives her keys to an empire. She only has to do one thing: keep a dying promise. Will she hold on to an empire amidst traitors, dissension and betrayal to keep the promise of her mentor; Mama Neal, Madame extraordinaire? Will the legacy continue to flourish under the auspices of Katlin Patrice Johnston or will changes force her into some harsh realities she finds harder to deal with? How long can she fight this destructive enemy which has crept in unawares to call into question the very foundation of her word given to a dying surrogate mother? This is her battle
The spread of Christianity is often presented as a story of conquest, of powerful European missionaries waging a cultural assault on hapless indigenous victims. Yet the presence of indigenous men among missionary ranks in the nineteenth century complicates these narratives. What compelled these individuals to embrace Christianity? How did they reconcile being both Christian and indigenous in an age of empire? Tolly Bradford finds answers to these questions in the lives and legacies of Henry Budd, a Cree missionary from western Canada, and Tiyo Soga, a Xhosa missionary from southern Africa. Inspired by both faith and family, these men found in Christianity a way to construct a modern conception of indigeneity, one informed by their ties to Britain and rooted in land and language, rather than religion and lifestyle. Although they shared a new sense of "nativeness," the men followed different paths. Whereas Budd sought to create a modern Cree village to cope with the upheavals of the 1860s and 1870s, Soga tried to foster among his people a politicized, and Christianized, sense of African nationalism. In telling this story, Bradford portrays indigenous missionaries not as victims of colonialism but as people who made conscious, difficult choices about their spirituality, identity, and relationship with the British colonial world.
With impressive skill, irrepressible spirit, and more than a touch of class, the 2000-01 Notre Dame women's basketball team reached the pinnacle of college basketball and forever secured a place in the storied sports history of the university and in the hearts of thousands of fans. The senior leadership of Naismith Award winner Ruth Riley, Niele Ivey, and Kelley Siemon combined with the exciting and capable play of underclassmen such as Alicia Ratay and Ericka Haney emphatically spells C-H-A-M-P-I-O-N-S. These Lady Irish practiced and played with relentless resolve, endured injuries and setbacks, balanced emotions and studies, and nurtured bonds—on and off the court—giving new meaning to the words "dedication" and "teamwork." Nice Girls Finish First is the behind-the-scenes story of this remarkable group of young women who, with a goal firmly in mind, set a shining and enduring example of how to achieve in college athletics with grit and grace.
Kingsley Amis was a mimic, jester, father, husband, atheist, pseudo-socialist and clubland Tory boozer with a limitless taste for adultery; Philip Larkin a glum misanthrope who lived in self-imposed solitude. And yet, after meeting at St John's, Oxford in 1941, this unlikely pair struck up a friendship to endure for more than forty years, despite a period of acrimony in the 1960s. From their early days of undergraduate ambitions and enthusiasms through to the bitterness of middle age, Richard Bradford charts the progress of a remarkable friendship, and shows how crucial it was to the making of these two literary giants. Without Larkin's inspiration and input, Amis would never have written his award-winning debut, Lucky Jim; if not for Amis's overnight success, Larkin would never have abandoned his hopes of becoming a novelist and turned instead to verse. Larkin's ensuing resentment would simmer beneath the surface of their relationship for years to come. Drawing on an enormous archive of letters, manuscripts and interviews, The Odd Couple not only offers a rare glimpse into the private correspondence of two controversial and eccentric men, it also illuminates some of the finest novels and poems of the twentieth century.
Children’s books seek to assist children to understand themselves and their world. Unsettling Narratives: Postcolonial Readings of Children’s Literature demonstrates how settler-society texts position child readers as citizens of postcolonial nations, how they represent the colonial past to modern readers, what they propose about race relations, and how they conceptualize systems of power and government. Clare Bradford focuses on texts produced since 1980 in Canada, the United States, Australia, and New Zealand and includes picture books, novels, and films by Indigenous and non-Indigenous publishers and producers. From extensive readings, the author focuses on key works to produce a thorough analysis rather than a survey. Unsettling Narratives opens up an area of scholarship and discussion—the use of postcolonial theories—relatively new to the field of children’s literature and demonstrates that many texts recycle the colonial discourses naturalized within mainstream cultures.
Martin Amis's life could itself provide the formula for an enthralling work of fiction. Son of one of the most popular and best-loved novelists of the post-War era, he has forged a groundbreaking manner of writing that owes nothing to the style of his father, nor indeed to anyone else. He relished and recorded the bizarre, turbulent atmosphere of Britain and the US during the 1970s and 80s, arguably the transformative period of the late 20th century. No other contemporary writer has proved so magnetic for the popular press: he has, despite himself, achieved celebrity status. Of late, his reputation as a novelist has been matched by his outspoken, challenging writing on contemporary global politics, and he has earned the status as the Orwell of the early 21st century. Martin Amis offers the real Martin Amis, a cabinet of contrasts: tortured, eloquently aloof, kind, obsessive, loved by women, a dedicated family man, often the architect of his own undoing, and a literary genius. Moreover, this fascinating biography discloses the autobiographical thread that runs through Amis's books. Richard Bradford has talked with Amis at length, questioned him on his childhood, his private history, his opinions and the inspiration for his fiction, and these exchanges are supplemented by interviews with a large number of his friends and fellow writers. Praise for Richard Bradford's previous titles: Praise for Lucky Him: The Life of Kingsley Amis: 'Nearly all critical biographies relate the work to the life - insidiously, tendentiously, helplessly. Richard Bradford is different: he does it convincingly, and with vigour. The result is an original and stimulating book'. Martin Amis 'I found Bradford's approach refreshing. Rare among literary academics he writes clearly, doesn't show off and knows a lot about his subject. He presents a fascinating chronicle of the development of Amis's brilliant ear for speech... He also brings out the full extent of the symbiosis between Amis and his best friend Philip Larkin: in a way Larkin invented Amis.' Craig Brown 'At his better moments Bradford... rises to Amis's stylistic level.' Humphrey Carpenter
By elaborating upon pivotal twentieth-century studies in language, representation, and subjectivity, Being Made Strange reorients the study of rhetoric according to the discursive formation of subjectivity. The author develops a theory of how rhetorical practices establish social, political, and ethical relations between self and other, individual and collectivity, good and evil, and past and present. He produces a novel methodology that analyzes not only what an individual says, but also the social, political, and ethical conditions that enable him or her to do so. This book also offers valuable ethical and political insights for the study of subjectivity in philosophy, cultural studies, and critical theory.
Phoenix is the largest city in the Southwest and one of the largest urban centers in the country, yet less has been published about its minority populations than those of other major metropolitan areas. Bradford Luckingham has now written a straightforward narrative history of Mexican Americans, Chinese Americans, and African Americans in Phoenix from the 1860s to the present, tracing their struggles against segregation and discrimination and emphasizing the active roles they have played in shaping their own destinies. Settled in the mid-nineteenth century by Anglo and Mexican pioneers, Phoenix emerged as an Anglo-dominated society that presented formidable obstacles to minorities seeking access to jobs, education, housing, and public services. It was not until World War II and the subsequent economic boom and civil rights era that opportunities began to open up. Drawing on a variety of sources, from newspaper files to statistical data to oral accounts, Luckingham profiles the general history of each community, revealing the problems it has faced and the progress it has made. His overview of the public life of these three ethnic groups shows not only how they survived, but how they contributed to the evolution of one of America's fastest-growing cities.
To 21st century readers, 19th century depictions of death look macabre if not maudlin—the mourning portraits and quilts, the postmortem daguerreotypes, and the memorial jewelry now hopelessly, if not morbidly, distressing. Yet this sentimental culture of mourning and memorializing provided opportunities to the bereaved to assert deeply held beliefs, forge social connections, and advocate for social and political change. This culture also permeated the literature of the day, especially the works of Edgar Allan Poe and Walt Whitman. In Communities of Death, Adam C. Bradford explores the ways in which the ideas, rituals, and practices of mourning were central to the work of both authors. While both Poe and Whitman were heavily influenced by the mourning culture of their time, their use of it differed. Poe focused on the tendency of mourners to cling to anything that could remind them of their lost loved ones; Whitman focused not on the mourner but on the soul’s immortality, positing an inevitable reunion. Yet Whitman repeatedly testified that Poe’s Gothic and macabre literature played a central role in spurring him to produce the transcendent Leaves of Grass. By unveiling a heretofore marginalized literary relationship between Poe and Whitman, Bradford rewrites our understanding of these authors and suggests a more intimate relationship among sentimentalism, romanticism, and transcendentalism than has previously been recognized. Bradford’s insights into the culture and lives of Poe and Whitman will change readers’ understanding of both literary icons.
This text is a comprehensive reference to all aspects of theatre planning and construction and a history of theatre design from ancient times to the present. Drawing on examples from Greek and Roman models to Renaissance and baroque theatres to contemporary buildings around the world, it discusses such requirements as structural systems, seating, acoustics and visual volume in detail, considering the optimum conditions for both musical and dramatic performance. This edition includes, as an appendix, a new set of drawings, in addition to the original 900 illustrations.
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