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.
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.
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.
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
Anne Elliot, persuaded by family and friends that the charming and handsome Frederick Wentworth is not worthy of her regard, questions her decision to send him away until he returns seven years later, his circumstances much improved.
Touching on indigenous Maori relationships with the now-extinct, flightless moa; the attitudes of Pakeha, or European, settlers toward sheep; the iconography of whales and dolphins; the problems of pest-control; and the pleasures of pet-keeping, this modern-day bestiary is a fascinating study of human–animal relations. In the book’s four parts, the authors unravel the contradictory ways New Zealanders nurture and eradicate, glorify and demonize, cherish and devour, and describe and imagine animals. The study brings together insights from New Zealand’s arts and literature, popular culture, historiography, media, and everyday life to describe and analyze their interactions with nga kararehe and nga manu, the beasts and birds of the land. In doing so, it illuminates fundamental aspects of New Zealand society: how New Zealanders understand their own identities and those of others; how they regard, inhabit and make use of the natural world; and how they think about what they buy, eat, wear, watch, and read. Rich, multifaceted, and engaging, A New Zealand Book of Beasts satisfyingly explores how culture both shapes and is shaped by the “beasts” of Aotearoa.
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.
This book offers an innovative introduction to social research. The book explores all stages of the research process and it features both quantitative and qualitative methods. Research design topics include sampling techniques, choosing a research design, and determining research question that inform public opinion and direct future studies. Throughout the book, the authors provide vivid and engaging examples that reinforce the reading and understanding of social science research. "Your Turn" boxes contain activities that allow students to practice research skills, such as sampling, naturalistic observation, survey collection, coding, analysis, and report writing.
In Emotional Expressionism: Television Seriality, the Melodramatic Mode, and Socioemotionality, E. Deidre Pribram examines emotions as social relations through the lens of dramatic television serials as contemporary melodrama. She develops the concept of socioemotionality, addressing sociocultural forms of felt experience and exploring the role of emotions in forging narrative worlds. Through detailed analyses of serials like Killing Eve, How to Get Away with Murder, and The Marvelous Mrs. Maisel, Pribram argues that the prominent role emotions play in popular mediated narratives demonstrates the crucial impact of collective emotions—activated through aesthetic attributes—on cultural storytelling. Scholars of television, communication, media, and cultural studies will find this book of particular relevance.
An inspirational, faith-based guide to raising the next generation of leaders—based on the real-life experiences of two amazing educators. Hailing from the hills of West Virginia and the ghettos of New York City, two teachers—one an older Caucasian and the other a younger African American—somehow find each other in the halls of a middle school in Hampton, VA. Becoming the best of friends, Deidre Hester and Sue Whited join together to educate their eighth-grade students in curriculum and life. One God Two Voices comes from their hearts as they speak to teachers, parents, students, and the world at-large on diverse topics, such as the racial divide (from the O.J. Simpson trial to the tragic deaths of Trayvon Martin and Michael Brown), repeating history, “acting white,” and the reality of being a teacher while maintaining your integrity, sanity, and sense of humor. From the tragic shooting death of a student who had sung Boyz II Men’s version of “It’s So Hard to Say Good-bye to Yesterday” in the eighth-grade talent show to the guidelines for setting a model of leadership in the classroom, One God Two Voices weaves together the authors’ unique and personal teaching experiences to create an inspirational tapestry of faith and education. In this updated version of their 2004 title For Such A Time As This . . . We Are But Small Voices, Hester and Whited make a difference for today—and the future.
During the early twentieth century, millions of southern blacks moved north to escape the violent racism of the Jim Crow South and to find employment in urban centers. They transplanted not only themselves but also their culture; in the midst of this tumultuous demographic transition emerged a new social institution, the storefront sanctified church. Saved and Sanctified focuses on one such Philadelphia church that was started above a horse stable, was founded by a woman born sixteen years after the Emancipation Proclamation, and is still active today. "The Church," as it is known to its members, offers a unique perspective on an under-studied aspect of African American religious institutions. Through painstaking historical and ethnographic research, Deidre Helen Crumbley illuminates the crucial role these oftentimes controversial churches played in the spiritual life of the African American community during and after the Great Migration. She provides a new perspective on women and their leadership roles, examines the loose or nonexistent relationship these Pentecostal churches have with existing denominations, and dispels common prejudices about those who attend storefront churches. Skillfully interweaving personal vignettes from her own experience as a member, along with life stories of founding members, Crumbley provides new insights into the importance of grassroots religion and community-based houses of worship.
Thirty-three-year-old Savannah appears to have everything to the average outsider looking in – a successful and fulfilling job, a loving parent, an active love life, and beauty. But something is missing. After a series of unfortunate events, which begin after the death of the beloved matriarch of her family, Eileen, Savannah’s life falls apart. Does she have the strength to put it back together? Inspired by events in Ms. Robinson’s own life, Forever and One Day questions the meaning of life and what society considers to be normal. Which is more important – appearances to society or inner peace and happiness? Impressive and thought-provoking, it is a portrait of a woman desperate for comfort, yet seeking liberation from the generational patterns that rule her world.
She had been forced into prudence in her youth, she learned romance as she grew older - the natural sequel of an unnatural beginning.' Anne Elliot seems to have given up on present happiness and has resigned herself to living off her memories. More than seven years earlier she complied with duty: persuaded to view the match as imprudent and improper, she broke off her engagement to a naval captain with neither fortune, ancestry, nor prospects. However, when peacetime arrives and brings the Navy home, and Anne encounters Captain Wentworth once more, she starts to believe in second chances. Persuasion celebrates romantic constancy in an era of turbulent change. Written as the Napoleonic Wars were ending, the novel examines how a woman can at once remain faithful to her past and still move forward into the future. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. .
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
The romance between Captain Wentworth and Anne, the daughter of Sir Walter Elliot, seems doomed because of the young man's family connections and lack of wealth.
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