By focusing on eighteenth-century English textual representations of the Ottomans, we can observe the turning point in public perceptions, the moments when English subjects began to believe British imperial power was a reality rather than an aspiration.
This book uses insights from the cognitive sciences to illuminate Kafka’s poetics, exemplifying a paradigm for literary studies in which cognitive-scientific insights are brought to bear directly on literary texts. The volume shows that the concept of "cognitive realism" can be a critically productive framework for exploring how textual evocations of cognition correspond to or diverge from cognitive realities, and how this may affect real readers. In particular, it argues that Kafka’s evocations of visual perception (including narrative perspective) and emotion can be understood as fundamentally enactive, and that in this sense they are "cognitively realistic". These cognitively realistic qualities are likely to establish a compellingly direct connection with the reader’s imagination, but because they contradict folk-psychological assumptions about how our minds work, they may also leave the reader unsettled. This is the first time a fully interdisciplinary research paradigm has been used to explore a single author’s fictional works in depth, opening up avenues for future research in cognitive literary science.
The Peutinger Map remains the sole medieval survivor of an imperial world-mapping tradition. It depicts most of the inhabited world as it was known to the ancients, from Britain's southern coastline to the farthest reaches of Alexander's conquests in India, showing rivers, lakes, islands, and mountains while also naming regions and the peoples who once claimed the landscape. Onto this panorama, the mapmaker has plotted the ancient Roman road network, with hundreds of images along the route and distances marked from point to point. This book challenges the artifact's self-presentation as a Roman map by examining its medieval contexts of crusade, imperial ambitions, and competition between the German-Roman Empire and the papacy.
This work explores Edith Wharton's career-long concern with a 19th-century visual culture that limited female artistic agency and expression. Wharton repeatedly invoked the visual arts as a medium for revealing the ways that women's bodies have been represented (as passive, sexualized, infantalized, sickly, dead). Well-versed in the Italian masters, Wharton made special use of the art of the Pre-Raphaelite Brotherhood, particularly its penchant for producing not portraits of individual women but instead icons onto whose bodies male desire is superimposed.
This book explores how humorous depictions of the Great War helped to familiarise, domesticate and tame the conflict. In contrast to the well-known First World War literature that focuses on extraordinary emotional disruption and the extremes of war, this study shows other writers used humour to create a gentle, mild amusement, drawing on familiar, popular genres and forms used before 1914. Emily Anderson argues that this humorous literature helped to transform the war into quotidian experience. Based on little-known primary material uncovered through detailed archival research, the book focuses on works that, while written by celebrated authors, tend not to be placed in the canon of Great War literature. Each chapter examines key examples of literary texts, ranging from short stories and poetry, to theatre and periodicals. In doing so, the book investigates the complex political and social significance of this tame style of humour.
Deemed by Heinrich Heine a city of merchants where poets go to die, Hamburg was an improbable setting for a major intellectual movement. Yet it was there, at the end of World War I, at a new university in this commercial center, that a trio of twentieth-century pioneers in the humanities emerged. Working side by side, Aby Warburg, Ernst Cassirer, and Erwin Panofsky developed new avenues in art history, cultural history, and philosophy, changing the course of cultural and intellectual history in Weimar Germany and throughout the world. In Dreamland of Humanists, Emily J. Levine considers not just these men, but the historical significance of the time and place where their ideas took form. Shedding light on the origins of their work on the Renaissance and the Enlightenment, Levine clarifies the social, political, and economic pressures faced by German-Jewish scholars on the periphery of Germany’s intellectual world. By examining the role that context plays in our analysis of ideas, Levine confirms that great ideas—like great intellectuals—must come from somewhere.
During French colonial rule in Louisiana, nuns from the French Company of Saint Ursula came to New Orleans, where they educated women and girls of European, Indian, and African descent, enslaved and free, in literacy, numeracy, and the Catholic faith. Although religious women had gained acceptance and authority in seventeenth-century France, the New World was less welcoming. Emily Clark explores the transformations required of the Ursulines as their distinctive female piety collided with slave society, Spanish colonial rule, and Protestant hostility. The Ursulines gained prominence in New Orleans through the social services they provided--schooling, an orphanage, and refuge for abused and widowed women--which also allowed them a self-sustaining level of corporate wealth. Clark traces the conflicts the Ursulines encountered through Spanish colonial rule (1767-1803) and after the Louisiana Purchase, as Protestants poured into Louisiana and were dismayed to find a powerful community of self-supporting women and a church congregation dominated by African Americans. The unmarried nuns contravened both the patriarchal order of the slaveholding American South and the Protestant construction of femininity that supported it. By incorporating their story into the history of early America, Masterless Mistresses exposes the limits of the republican model of national unity.
By focusing on eighteenth-century English textual representations of the Ottomans, we can observe the turning point in public perceptions, the moments when English subjects began to believe British imperial power was a reality rather than an aspiration.
By focusing on eighteenth-century English textual representations of the Ottomans, we can observe the turning point in public perceptions, the moments when English subjects began to believe British imperial power was a reality rather than an aspiration.
Follows Glory, an HIV-positive drug addict, who leaves the drugs and sex of the Lower East Side to find meaning to love and life in a Minnesota rehabilitation community.
Magnolia et BJ vous déchireront le coeur et l'âme comme personne d'autre ! Il y a toutes sortes d'amours dans ce monde. Mais il y en a un que vous feignez de ne pas ressentir, même si c'est bien le cas, même si vous le savez, même s'il occupe vos pensées dès le matin - parce qu'aimer quelqu'un ainsi est douloureux. Et si le temps vous a enseigné quelque chose, c'est que cela n'a aucune importance. Vous l'aimerez, en dépit de tout, jusqu'à la fin de vos jours. Elle est belle, riche, égocentrique, légèrement névrosée et appartient aux hautes sphères de la société londonienne. Il est le bad boy dont tous les paparazzi de Grande-Bretagne s'arrachent la photo, et il lui a brisé le coeur. Pourtant, Magnolia Parks et BJ Ballentine sont faits l'un pour l'autre, tout le monde le sait. Elle sort avec d'autres personnes pour le tenir à distance ; il couche avec d'autres filles pour se venger. Malgré leurs vaines tentatives pour tourner la page, ils finissent toujours dans les bras l'un de l'autre. Mais ce cercle vicieux laisse des traces indélébiles sur leur existence... Alors que des secrets commencent à refaire surface, Magnolia et BJ doivent confronter la question fatidique qu'ils ont évitée toute leur vie : combien d'amours a-t-on dans une seule vie ? Le phénomène TikTok qui ravira tous les fans de Gossip Girl. Bientôt adapté en série par les producteurs d'Euphoria.
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