Second chance lovers, a surprise ten-year-old and a baby on the way make for a drama-filled instafamily and surprising twists in the final installment of the Consumed by Heat series by Deidre - Ann Anderson. Billionaire investor and ex-drug dealer, Alexander Heat believes that he has finally gotten to a stage where he has his personal life under control. He's engaged to the love of his life Krissane Watson, who has now become his partner in both life and business. Krissane is busy planning the wedding of her dreams. There's nothing she wants more than to continue to learn and explore all there is to discover about Alex outside of the drama-filled fiasco that has consumed their whole life over the past year. But, when Alex receives an envelope stating that he has a ten-year-old daughter, shortly before Kris finds out she's pregnant, their lives are forced to take a dramatic turn.
Various cultural theories (foremost among them, postmodernism) have figured in the debate over the politics of representation. These theories have tended to look at representation in the context of either audience enablement or commercial constraint; that is, do the images empower the public or inhibit it? One key area consistently overlooked has the been the study of subcultural or subordinate groups who appropriate what is traditionally considered "mainstream." The Madonna Connection is the first book to address the complexities of race, gender, and sexuality in popular culture by using the influence of a cultural heroine to advance cultural theory. Madonna's use of various media—music, concert tour, film, and video—serves as a paradigm by which the authors study how images and symbols associated with subcultural groups (multiracial, gay and lesbian, feminist) are smuggled into the mainstream. Using a range of critical and interpretive approaches to this evolving and lively cultural phenomenon, the authors demonstrate the importance of personalities like Madonna to issues of enablement and constraint. Are "others" given voice by political interventions in mass popular culture? Or is their voice co-opted to provide mere titillation and maximum profit? What might the interplay of these views suggest? These are some of the questions the authors attempt to answer. Some celebrate Madonna's affirmation of cultural diversity. Others criticize her flagrant self-marketing strategies. And still others regard her as only a provisional challenge to the mainstream.
The story of the development of the novel--its origin, rise, and increasing popularity as a narrative form in an ever-expanding range of geographic and cultural sites--is familiar and, according to the contributors to this volume, severely limited. In a far-reaching blend of comparative literature and transnational cultural studies, this collection shifts the study of the novel away from a consideration of what makes a particular narrative a novel to a consideration of how novels function and what cultural work they perform--from what novels are, to what they do. The essays in Cultural Institutions of the Novel find new ways to analyze how a genre notorious for its aesthetic unruliness has become institutionalized--defined, legitimated, and equipped with a canon. With a particular focus on the status of novels as commodities, their mediation of national cultures, and their role in transnational exchange, these pieces range from the seventeenth century to the present and examine the forms and histories of the novel in England, Nigeria, Japan, France, New Zealand, Canada, and the United States. Works by Jane Austen, Natsume Sôseki, Gabriel García Márquez, Buchi Emecheta, and Toni Morrison are among those explored as Cultural Institutions of the Novel investigates how theories of "the" novel and disputes about which narratives count as novels shape social struggles and are implicated in contests over cultural identity and authority. Contributors. Susan Z. Andrade, Lauren Berlant, Homer Brown, Michelle Burnham, James A. Fujii, Nancy Glazener, Dane Johnson, Lisa Lowe, Deidre Lynch, Jann Matlock, Dorothea von Mücke, Bridget Orr, Clifford Siskin, Katie Trumpener, William B. Warner
Of the many charges laid against contemporary literary scholars, one of the most common--and perhaps the most wounding--is that they simply don't love books. And while the most obvious response is that, no, actually the profession of literary studies does acknowledge and address personal attachments to literature, that answer risks obscuring a more fundamental question: Why should they? That question led Deidre Shauna Lynch into the historical and cultural investigation of Loving Literature. How did it come to be that professional literary scholars are expected not just to study, but to love literature, and to inculcate that love in generations of students? What Lynch discovers is that books, and the attachments we form to them, have long played a role in the formation of private life--that the love of literature, in other words, is neither incidental to, nor inextricable from, the history of literature. Yet at the same time, there is nothing self-evident or ahistorical about our love of literature: our views of books as objects of affection have clear roots in late eighteenth-century and nineteenth-century publishing, reading habits, and domestic history."--Publisher's Web site.
At the start of the 18th century, literary "characters" referred as much to letters and typefaces as it did to persons in books. However, this text shows how, by the 19th century, readers used transactions with characters to accommodate themselves to newly-commercialized social relations.
This book takes an ecrocritical approach to analytical readings of animated feature films, short subjects and television shows. Beginning with the "simply subversive" environmental messages in the Felix the Cat cartoons of the 1920s, the author examines "green" themes in such popular animated film efforts as Bambi (1942), The Simpsons Movie (2007), Wall-E (2008) and Happy Feet (2008), as well as James Cameron's live action/animation blockbuster Avatar (2009). The discussion extends beyond American films to include the works of Japanese animator Hayao Miyazaki, including the Oscar-winning Spirited Away (2002). Also evaluated for their pro-ecological content are the television cartoon series South Park and Futurama. The appendix provides a list of film and television titles honored with the Environmental Media Award for Animation.
As she constructively engages feminist critiques of Christianity's complicity in violence, Deidre Nicole Green challenges traditional beliefs that self-sacrifice amounts to love and that suffering is inherently redemptive by arguing for a Kierkegaardian conceptions of Christian love that limits self-sacrifice." -- Back cover.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.