Packed with insights from extraordinary women who have climbed the corporate ladder--including former McDonald’s president Jan Fields, JetBlue cofounder Ann Rhoades, and fashion pioneer Liz Lange--Who Says It's a Man’s World reveals the measurable action steps needed to excel in each of the five reputation-enhancing business areas: personal development, social skills, effectiveness, team building, and leadership. Complete with an eye-opening “promotability” assessment, an ideal “success profile,” and the latest research on women in the workplace, Emily Bennington’s book provides readers with everything they need to achieve their professional goals. For the first time in US history, women form the majority of the workforce, filling more managerial positions than their male counterparts. The Atlantic has called it the “end of men.” While this may be an overstatement, one thing is certain: today’s women are primed to take over the corporate world--and Who Says It’s a Man’s World is just the resource they need to ensure they don’t stumble on the way up.
For women ready to climb the rocky path from cubicle to executive suite--this practical guide offers everything you need to build your own fast-track career plan.
The question of maternity is crucial for feminists, to whom it represents both challenge and inspiration, as it is for many thinkers engaged with the issues of agency, corporeality, and ethics. This examination puts forward the idea of a 'maternal performativity', drawing on the work of Judith Butler and numerous other feminist theorists, to offer new ways of looking at 1970s and 1980s literary texts by ten German-speaking women writers, including Barbara Frischmuth, Elfriede Jelinek, Irmtraud Morgner, and Karin Struck. It argues that as yet, maternal agency has not adequately been theorized - a project which is urgent, given the traditional view in Western culture of the mother as passive - and suggests that Butler's notion of performativity can assist in this task. It proposes a performative conception of both mothering and literature, and links both of these to the question of ethics, which is understood as involving embodiment and relationality. To different extents, all of the texts examined depict mothers as marginal, abject, or insane, thus demonstrating the operations of exclusion, and the need for a maternal agency to be developed and enacted. The idea of maternal performativity is refined in five chapters, which focus, respectively, on community, corporeality, the mother-child relationship, the family, and discursive production. The conclusion explores the ethics of literary practice and knowledge production, and argues that in the light of the developing fields of new reproductive technologies and genetics, it is imperative that we seek new understandings of embodiment, community, and care, a task to which this study aspires to contribute.
Virginia Woolf's career was shaped by her impression of the conflict between poetry and the novel, a conflict she often figured as one between masculine and feminine, old and new, bound and free. In large part for feminist reasons, Woolf promoted the triumph of the novel over poetry, even as she adapted some of poetry's techniques for the novel in order to portray the inner life. Woolf considered poetry the rival form to the novel. A monograph on Woolf's sense of genre rivalry thus offers a thorough reinterpretation of the motivations and aims of her canonical work. Drawing on unpublished archival material and little-known publications, the book combines biography, book history, formal analysis, genetic criticism, source study, and feminist literary history. Woolf's attitude towards poetry is framed within contexts of wide scholarly interest: the decline of the lyric poem, the rise of the novel, the gendered associations with these two genres, elegy in prose and verse, and the history of English Studies. Virginia Woolf and Poetry makes three important contributions. It clarifies a major prompt for Woolf's poetic prose. It exposes the genre rivalry that was creatively generative to many modernist writers. And it details how holding an ideology of a genre can shape literary debates and aesthetics.
Against World Literature: On the Politics of Untranslatability argues for a rethinking of comparative literature focusing on the problems that emerge when large-scale paradigms of literary studies ignore the politics of the "Untranslatable"-the realm of those words that are continually retranslated, mistranslated, transferred from language to language, or especially resistant to substitution. In the place of "World Literature"-a dominant paradigm in the humanities, one grounded in market-driven notions of readability and universal appeal-Apter proposes a plurality of "world literatures" oriented around philosophical concepts and geopolitical pressure points. The history and theory of the language that constructs World Literature is critically examined with a special focus on Weltliteratur, literary world systems, narrative ecosystems, language borders and checkpoints, theologies of translation, and planetary devolution in a book set to revolutionize the discipline of comparative literature.
From xenophobic appropriations of Joan of Arc to Afro-futurism and cyberpunk, the "national" characters of the colonial era often seem to be dissolving into postnational and virtual subjects. In Continental Drift, Emily Apter deftly analyzes the French colonial and postcolonial experience as a case study in the erosion of belief in national destiny and the emergence of technologically mediated citizenship. Among the many topics Apter explores are the fate of national literatures in an increasingly transnational literary climate; the volatile stakes of Albert Camus's life and reputation against the backdrop of Algerian civil strife; the use of literary and theatrical productions to "script" national character for the colonies; belly-dancing and aesthetic theory; and the impact of new media on colonial and postcolonial representation, from tourist photography to the videos of Digital Diaspora. Continental Drift advances debates not just in postcolonial studies, but also in gender, identity, and cultural studies; ethnography; psychoanalysis; and performance studies.
Addressing the question of why many Latin American fiction authors are writing about Nazism, the Second World War and the Holocaust now, this book charts the evolution of Latin American literary production from the 19th Century, through the late 20th century 'Boom', to the present day. Containing texts from Mexico, Colombia, Brazil, Argentina and Chile, it analyses work by some of the most well-known contemporary writers including Roberto Bolaño, Juan Gabriel Vásquez, Jorge Volpi, Lucía Puenzo, Patricio Pron and Michel Laub; as well as notable precursors such as Jorge Luis Borges, Carlos Fuentes and Ricardo Piglia. Nazism, the Second World War and the Holocaust in Contemporary Latin American Fiction argues that these authors find Nazism relevant to thinking through some of the most urgent contemporary challenges we face: from racism, to the unequal division of wealth and labour between the Global 'North' and 'South'; and, of course, the general failure of democracy to eliminate fascism.
Orientalist Poetics is the only book on literary orientalism that spans the nineteenth century in both England and France with particular attention to poetry and poetics. It convincingly demonstrates orientalism's centrality to the evolution of poetry and poetics in both nations, and provides a singularly comprehensive and definitive analysis of the aesthetic impact of orientalism on nineteenth-century poetry. Because it examines the poetry of the entire century across both national literatures, the book is in a unique position to articulate the essential part orientalism plays in major developments of nineteenth-century poetics. Through probing discussions of an array of prominent nineteenth-century poets-including Shelley, Southey, Byron, Hugo, Musset, Leconte de Lisle, Wordsworth, Hemans, Gautier, Tennyson, Arnold and Wilde-Emily A. Haddad reveals how orientalism functions as a diffuse avant-garde, a crucial medium for the cultivation and refinement of a broad range of experimental positions on poetry and poetics. Haddad argues that while orientalist poems are often viewed mainly as artefacts of European attitudes towards the East and imperialism, poetic representations of the Islamic Orient also provide an indispensable matrix for the reexamination of such aesthetically fundamental issues as the purpose of poetry, the value of mimesis, and the relationship between nature and art. Orientalist Poetics effectively bridges the gap between the analysis of poetics and the analysis of orientalism. In showing that major poetic developments have roots in orientalism, Haddad's book offers a valuable and innovative revisionist view of nineteenth-century literary history.
Despite its importance as a central feature of musical sounds, timbre has rarely stood in the limelight. First defined in the eighteenth century, denigrated during the nineteenth, the concept of timbre came into its own during the twentieth century and its fascination with synthesizers and electronic music-or so the story goes. But in fact, timbre cuts across all the boundaries that make up musical thought-combining scientific and artistic approaches to music, material and philosophical aspects, and historical and theoretical perspectives. Timbre challenges us to fundamentally reorganize the way we think about music. The twenty-five essays that make up this collection offer a variety of engagements with music from the perspective of timbre. The boundaries are set as broad as possible: from ancient Homeric sounds to contemporary sound installations, from birdsong to cochlear implants, from Tuvan overtone singing to the tv show The Voice, from violin mutes to Moog synthesizers. What unifies the essays across this vast diversity is the material starting point of the sounding object. This focus on the listening experience is radical departure from the musical work that has traditionally dominated musical discourse since its academic inception in late-nineteenth-century Europe. Timbre remains a slippery concept that has continuously demanded more, be it more precise vocabulary, a more systematic theory, or more rigorous analysis. Rooted in the psychology of listening, timbre consistently resists pinning complete down. This collection of essays provides an invitation for further engagement with the range of fascinating questions that timbre opens up.
Voices of Feminist Liberation' brings together a wide range of scholars to explore the work of Rosemary Radford Ruether, one of the most influential feminist and liberation theologians of our time. Ruether's extraordinary and ground-breaking thinking has shaped debates across liberation theology, feminism and eco-feminism, queer theology, social justice and inter-religious dialogue. At the same time, her commitment to practice and agency has influenced sites of local resistance around the world as well as on globalised strategies for ecological sustainability and justice. 'Voices of Feminist Liberation' examines the potential of Ruether's thinking to mobilize critical theology, social theory and cultural practice. The scholars gathered here present their personal engagements with Ruether's thinking and teaching. The book will be invaluable to scholars, policy-makers, and activists seeking to understand how colonial and patriarchal oppression in the name of religion can be confronted and defeated.
In the arena of poetry and poetics over the past century, no idea has been more alive and contentious than the idea of form, and no aspect of form has more emphatically sponsored this marked formal concern than the line. But what, exactly, is the line? Emily Rosko and Anton Vander Zee’s anthology gives seventy original answers that lead us deeper into the world of poetry, but also far out into the world at large: its people, its politics, its ecology. The authors included here, emerging and established alike, write from a range of perspectives, in terms of both aesthetics and identity. Together, they offer a dynamic hybrid collection that captures a broad spectrum of poetic practice in the twenty-first century. Rosko and Vander Zee’s introduction offers a generous overview of conversations about the line from the Romantics forward. We come to see how the line might be an engine for ideals of progress—political, ethical, or otherwise. For some poets, the line touches upon the most fundamental questions of knowledge and existence. More than ever, the line is the radical against which even alternate and emerging poetic forms that foreground the visual or the auditory, the page or the screen, can be distinguished and understood. From the start, a singular lesson emerges: lines do not form meaning solely in their brevity or their length, in their becoming or their brokenness; lines live in and through the descriptions we give them. Indeed, the history of American poetry in the twentieth century could be told by the compounding, and often confounding, discussions of its lines. A Broken Thing both reflects upon and extends this history, charting a rich diffusion of theory and practice into the twenty-first century with the most diverse, wide-ranging and engaging set of essays to date on the line in poetry, revealing how poems work and why poetry continues to matter.
Two former best friends get a second chance to make things right in this emotional debut novel from the award-winning author of Some Women. Katherine Hill left her small New England hometown in pursuit of a dream. Now, twelve years later, she’s a high-powered cosmetics executive in Manhattan and a much glossier version of her former self, unrecognizable to her family and old friends. Not that she would know—she hasn’t been home in over a decade. Laney Marten always swore she’d never get “stuck” in Manchester, Vermont. No, she was destined to live out her glamorous big-city dreams. Instead, she wound up a young wife and mother. That was when her best friend ran out. When Katherine receives word of an inheritance from former neighbor Luella Hancock, she reluctantly returns home to the people and places she left behind. Tethered to their shared inheritance of Luella’s sprawling Victorian mansion, Katherine and Laney are forced to address their long-standing grudges. Through this, they come to understand that while life has taken them in different directions, ultimately the bonds of friendship and sisterhood still bind them together. But are some wounds too old and deep to mend?
A new vision of politics “below the radar” One way to grasp the nature of politics is to understand the key terms in which it is discussed. Unexceptional Politics develops a political vocabulary drawn from a wide range of media (political fiction, art, film, and TV), highlighting the scams, imbroglios, information trafficking, brinkmanship, and parliamentary procedures that obstruct and block progressive politics. The book reviews and renews modes of thinking about micropolitics that counter notions of the “state of exception” embedded in theories of the “political” from Thomas Hobbes to Carl Schmitt. Emily Apter develops a critical model of politics behind the scenes, a politics that operates outside the norms of classical political theory. She focuses on micropolitics, defined as small events, happening in series, that often pass unnoticed yet disturb and interfere with the institutional structures of capitalist parliamentary systems, even as they secure their reproduction and longevity. Apter’s experimental glossary is arranged under headings that look at the apparently incidental, immaterial, and increasingly virtual practices of politicking: “obstruction,” “obstinacy,” “psychopolitics,” “managed life,” “serial politics.” Such terms frame an argument for taking stock of the realization that we really do not know what politics is, where it begins and ends, or how its micro-events should be described.
What does it mean to be “temporally deactivated?” Experience a historical moment through the intervention of a time travel agency. Be trapped inside a time bubble—willingly—so that you can save the universe from Darkness over and over again. Step outside of time at the order of your queen in order to stop a traitor...or to keep an assassin from destroying the future. Or travel forward into the future in order to kill off timelines to save your son...or backwards to halt an accident to save your relationship. Join fantasy and science fiction authors Ken Altabef, Alex Gideon, Stephen Leigh, D.B. Jackson, Faith Hunter, C.S. Friedman, Emily Randall, Gini Koch, Misty Massey, Rhondi Salsitz, Edmund R. Schubert, R.K. Nickel, Marie DesJardin, and Christine Lucas as they defy time and warp space in order to define what it means to be “temporally deactivated.” So get ready and hold on tight. It’s time to step outside of time.
An elegant dissection of how youthful happiness is lost, by a memoirist of great style and insight. "The happiness of childhood is existential, not psychological," writes Emily Fox Gordon. Gordon's early life was, as she puts it, "a succession of moments of radiant apprehension." In a later age she might have been medicated and counseled and ferried from one appointment to another. But growing up in the college town of Williamstown, Massachusetts, in the fifties, she was free to be alone with her thoughts, to mumble observations and descriptions as she cultivated the writer's lifelong habit of translating experience into words. In the hands of this rigorous thinker, we understand how happiness can be recaptured through telling the story of its loss. As Gordon grew older, she began to be aware of her charming mother's long, slow withdrawal into alcoholic depression. In Are You Happy? Gordon recounts how her childish view the world was lost, and of how that loss ended her childhood. Depicted here is the evolution of a wise child's self-awareness. Moving and perceptive, it is a memoir not to be missed.
Ghost stories from New York's upstate towns have never been so creepy, fun, and full of mystery! Welcome to the spooky Catskills! Stay alert! Ghosts lurk around every corner. Even the most unexpected places might be haunted by wandering phantoms. Did you know the ghost of a colonial solider still haunts a home in Kinderhook' Or that the place where Washington Irving wrote 'The Legend of Sleepy Hollow' is just as spooky as that famous story' Can you believe New York's Catskill Mountains are home to a shape-shifting witch' Pulled right from history, these ghostly tales will change the way you see the Catskills and have you sleeping with the light on!
At the turn of the 20th century, printing and photographic technologies evolved rapidly, leading to the birth of mass media and the rise of the amateur photographer. Demonstrating how this development happened symbiotically with great changes in the shape of British literature, Writing, Authorship and Photography in British Literary Culture, 1880-1920 explores this co-evolution, showing that as both writing and photography became tools of mass dissemination, literary writers were forced to re-evaluate their professional and personal identities. Focusing on four key authors-Thomas Hardy, Bram Stoker, Joseph Conrad and Virginia Woolf-each of which had their own private and professional connections to photographs, this book offers valuable historical contexts for contemporary cultural developments and anxieties. At first establishing the authors' response to developing technologies through their non-fiction, personal correspondences and working drafts, Ennis moves on to examine how their perceptions of photography extend into their major works of fiction: A Laodicean, Dracula, The Secret Agent, The Inheritors and The Voyage Out. Reflecting on the first 'graphic revolution' in a world where text and image are now reproduced digitally and circulated en masse and online, Ennis redirects our attention to when image and text appeared alongside each other for the first time and the crises this sparked for authors: how they would respond to increasingly photographic depictions of everyday life, and in turn, how their writing adapted to a distinctly visual mass media.
Vermont is known for its low rolling mountains and spectacular autumn foliage. Another hallmark of this New England landscape is the sugar maple. Vermont is the leading producer of maple syrup in the United States. This book explores the wild beauty of the Green Mountain State, as well as its history, industries, and culture.
Success in Country Music doesn’t come easy. Having talent is only the beginning. Patience, persistence, temperament, and tenacity are all required, and sometimes getting just the right break. Kyle Clifford (KC) Brooks is a musician in his mid-20s working hard to make his way in the Nashville music scene. His love of music began at an early age with the piano and guitar but quickly grew to the banjo, then violin, accordion, cello, and any other instrument he picked up. Throughout his life, being of small stature, even petite, he was often teased that his looks were wasted on a boy, he was too pretty to be a boy, or how many girls were jealous of his cute looks. While he sometimes struggled with the comments, he did not let them slow down his pursuit of his music. Katherine Christine (KC) Brooks is a country music musician from Austin who has just had her big break, and her career is beginning to take off. Releasing songs she wrote, and performing copies of other classics, she is off and running on her first tour. The last stop on her tour is in Nashville where a local radio station is running a KC Brooks lookalike contest inviting local musicians to submit a video of them singing one of her songs. When his sister dares him, along with support from his family, Kyle (KC) agrees to enter the radio station contest. The radio stations reaction is to say they believe the audition video is too good, could be a fraud, and they demand a meeting. Imagine their surprise when not only does he attend the meeting, but they find out he is a guy. Eventually, Kyle’s entry stands, he does win the contest, and is invited to meet Katherine (KC) before her Nashville show. A relationship develops, they write songs, create music, and build a successful career, but it is not without conflict and barriers. But together, they fight their way through it all to a very happy ending. It’s Serendipity.
On the Horizon of World Literature compares literary texts from asynchronous periods of incipient literary modernity in different parts of the world: Romantic England and Republican China. These moments were oriented alike by “world literature” as a discursive framework of classifications that connected and re-organized local articulations of literary histories and literary modernities. World literature thus provided—and continues to provide—a condition of possibility for conversation between cultures as well as for their mutual provincialization. The book offers readings of a selection of literary forms that serve also as textual sites for the enactment of new socio-political forms of life. The literary manifesto, the tale collection, the familiar essay, and the domestic novel function as testing grounds for questions of both literary-aesthetic and socio-political importance: What does it mean to attain a voice? What is a common reader? How does one dwell in the ordinary? What is a woman? In different languages and activating heterogeneous literary and philosophical traditions, works by Percy Bysshe Shelley, Lu Xun, Charles and Mary Lamb, Lin Shu, Zhou Zuoren, Jane Austen, and Eileen Chang explore the far-from-settled problem of what it means to be modern in different lifeworlds. Sun’s book brings to light the disciplinary-historical impact world literature has had in shaping literary traditions and practices around the world. The book renews the practice of close reading by offering the model of a deprovincialized close reading loosened from confinement within monocultural hermeneutic circles. By means of its own focus on England and China, the book provides methods useful for comparatists working between other Western and non-Western languages. It establishes the critical significance of Romanticism for the discipline of literary studies and opens up new paths of research in global Romanticism and global nineteenth-century studies. And it offers a new approach to analyzing the cosmopolitan character of the literary and cultural transformations of early twentieth-century China.
Master the Pharmacology Concepts You’ll Encounter on Your Licensure Exam! Reinforce your understanding and ready yourself for success with this comprehensive review of critical pharmacology content covered on the NCLEX-RN®. Lippincott® Pharmacology Review for NCLEX-RN® summarizes core medication classes and their associated conditions in an easy-to-use format accompanied by ample practice questions to help you excel on your exams and make a confident transition to clinical practice. Streamlined, bulleted format reinforces key information at a glance. NCLEX-style review questions test your retention of essential concepts and familiarize you with the exam experience. Detailed answer key offers instant remediation including full rationales, Bloom’s Taxonomy levels and Client Need categories for each question. Free 7-day Lippincott® PassPoint trial provides personalized, adaptive online test preparation to enhance your test-taking confidence.
From The Matrix and Harry Potter to Stargate SG:1 and The X-Files, recent science fiction and fantasy offerings both reflect and produce a sense of the religious. This work examines this pop-culture spirituality, or "postmodern sacred," showing how consumers use the symbols contained in explicitly "unreal" texts to gain a secondhand experience of transcendence and belief. Topics include how media technologies like CGI have blurred the lines between real and unreal, the polytheisms of Buffy and Xena, the New Age Gnosticism of The DaVinci Code, the Islamic "Other" and science fiction's response to 9/11, and the Christian Right and popular culture. Today's pervasive, saturated media culture, this work shows, has utterly collapsed the sacred/profane binary, so that popular culture is not only powerfully shaped by the discourses of religion, but also shapes how the religious appears and is experienced in the contemporary world.
The ladies of the Mayfair Orchid and Exotic Plant Society are known for a bit of friendly rivalry, but the backstabbing has never been literal--until now. When Hiram Filmore, an orchid hunter and supplier, is found dead in Mrs. Helena Rayburn's conservatory, Inspector Witherspoon is called in to weed out a murderer. When it comes out that Mrs. Rayburn and her flowery friend knew each other from long ago, Mrs. Jeffries begins to suspect that there's more to unearth about this case. Now she, along with the rest of Inspector Witherspoon's household and friends, will have to dig up the past to figure out which gardening gentlewoman had a grudge worth killing for..."--Page 4 of cover.
This book seeks to unfold the complexity within the works of Dambudzo Marechera and presents scholars and readers with a way of reading his works in light of utopian thinking. Writing during a traumatic transitional period in Zimbabwe’s history, Marechera witnessed the upheavals caused by different parties battling for power in the nation. Aware of the fact that all institutionalized narratives – whether they originated from the colonial governance of the UK, Ian Smith’s white minority regime, or Zimbabwe’s revolutionary parties – appeal to visions of a utopian society but reveal themselves to be fiction, Marechera imagined a unique utopia. For Marechera, utopia is not a static entity but a moment of perpetual change. He rethinks utopia by phrasing it as an ongoing event that ceaselessly contests institutionalized narratives of the postcolonial self and its relationship to society. Marechera writes towards a vision of an alternative future for the country. Yet, it is a vision that does not constitute a fully rounded sense of utopia. Being cautious about the world and the operation of power upon the people, rather than imposing his own utopian ideals, Marechera chooses instead to destabilize the narrative constitution of the self in relation to society in order to turn towards a truly radical utopian thinking that empowers the individual.
Politics of the Pantry' examines the rise and fall of the American housewife as a political constituency group and explores the relationship between the domestic sphere and the formation of political identity
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