Ina Ferris examines the way in which the problem of 'incomplete union' generated by the formation of the United Kingdom in 1800 destabilised British public discourse in the early decades of the nineteenth century. Ferris offers the first full-length study of the chief genre to emerge out of the political problem of Union: the national tale, an intercultural and mostly female-authored fictional mode that articulated Irish grievances to English readers. Ferris draws on current theory and archival research to show how the national tale crucially intersected with other public genres such as travel narratives, critical reviews and political discourse. In this fascinating study, Ferris shows how the national tales of Morgan, Edgeworth, Maturin, and the Banim brothers dislodged key British assumptions and foundational narratives of history, family and gender in the period.
Although literary historians have largely neglected them, Sir Walter Scott's Waverley Novels mark a pivotal moment in the formation of the modern literary field, Ina Ferris argues, exemplifying the complex intersections of gender and genre in the evolution of nineteenth-century literary authority. Focusing on the critical reception of Scott's early works, Ferris shows how their extraordinary success propelled the novel from the margins of the culture into the literary hierarchy. Drawing on the insights of poststructuralist, feminist, and Bakhtinian theory, Ferris reconstructs reviewers' debates about fiction at several critical points in Scott's career. His literary authority and innovative power, she maintains, depended on the way in which his historical novels responded to the anxieties about discourse and modernity expressed in the literary reviews. Gender was a central source of anxiety, and the "manliness" of Scott's historical novels was decisive in their legitimation of the novel. It was largely through a problematic allegiance to the "female" genre of romance, however, that the Waverley Novels both recuperated fiction for male reading and helped to redefine for the nineteenth century the writing of history itself. Ferris locates the Waverley Novels in relation to fiction and history by such contemporaries of Scott's as Maria Edgeworth, Lady Morgan, John Galt, James Hogg, Augustin Thierry, and Thomas Babington Macaulay. Students of the novel, feminist critics, and others interested in the relations between history and fiction will want to read The Achievement of Literary Authority.
This book re-reads the tangled relations of book culture and literary culture in the early nineteenth century by restoring to view the figure of the bookman and the effaced history of his book clubs. As outliers inserting themselves into the matrix of literary production rather than remaining within that of reception, both provoked debate by producing, writing, and circulating books in ways that expanded fundamental points of literary orientation in lateral directions not coincident with those of the literary sphere. Deploying a wide range of historical, archival and literary materials, the study combines the history and geography of books, cultural theory, and literary history to make visible a bookish array of alterative networks, genres, and locations that were obscured by the literary sphere in establishing its authority as arbiter of the modern book.
Although literary historians have largely neglected them, Sir Walter Scott's Waverley Novels mark a pivotal moment in the formation of the modern literary field, Ina Ferris argues, exemplifying the complex intersections of gender and genre in the evolution of nineteenth-century literary authority. Focusing on the critical reception of Scott's early works, Ferris shows how their extraordinary success propelled the novel from the margins of the culture into the literary hierarchy. Drawing on the insights of poststructuralist, feminist, and Bakhtinian theory, Ferris reconstructs reviewers' debates about fiction at several critical points in Scott's career. His literary authority and innovative power, she maintains, depended on the way in which his historical novels responded to the anxieties about discourse and modernity expressed in the literary reviews. Gender was a central source of anxiety, and the "manliness" of Scott's historical novels was decisive in their legitimation of the novel. It was largely through a problematic allegiance to the "female" genre of romance, however, that the Waverley Novels both recuperated fiction for male reading and helped to redefine for the nineteenth century the writing of history itself. Ferris locates the Waverley Novels in relation to fiction and history by such contemporaries of Scott's as Maria Edgeworth, Lady Morgan, John Galt, James Hogg, Augustin Thierry, and Thomas Babington Macaulay. Students of the novel, feminist critics, and others interested in the relations between history and fiction will want to read The Achievement of Literary Authority.
Ina Ferris examines the way in which the problem of 'incomplete union' generated by the formation of the United Kingdom in 1800 destabilised British public discourse in the early decades of the nineteenth century. Ferris offers the first full-length study of the chief genre to emerge out of the political problem of Union: the national tale, an intercultural and mostly female-authored fictional mode that articulated Irish grievances to English readers. Ferris draws on current theory and archival research to show how the national tale crucially intersected with other public genres such as travel narratives, critical reviews and political discourse. In this fascinating study, Ferris shows how the national tales of Morgan, Edgeworth, Maturin, and the Banim brothers dislodged key British assumptions and foundational narratives of history, family and gender in the period.
When shy young Bernice meets Will Webber in her parents’ drapery store, she can have no way of knowing that the love that grows between them will be the spark that ignites generations of heartbreak, overlapping layers of family dysfunction, and star-crossed love affairs. As the years go on, an unconventional family evolves, which will become beset by drama, intrigue, romance, violence, and even horror and grief as a revenge plot threatens to destroy their most innocent and vulnerable members. From the siblings separated by war; to the teenaged girl fallen into bad circumstances; to the conniving, exploitative men; the orphaned children, and one mother yearning for a child while another abandons hers...these are complex people with rich lives. There’s triumph, sorrow, and mounting jeopardy through a multi-generational family saga in the tradition of The Thorn Birds. Bernice features a varied cast of characters, onion-skin layers of unfolding revelations, and a warm, beating heart of family love at its core.
Predictions are that sustainability becomes the next big topic for Human Resource Management after internationalization and globalization. This book gives new answers to these questions: - How can HRM contribute to attracting, developing and retaining highly qualified human resources over time? - How can a paradox perspective contribute to understanding and coping with paradoxical tensions? - How can sustainability be used as a ‘deliberate strategy’ for HRM? The conceptual part of the book looks at the notion of sustainability, opens it up for Strategic HRM and identifies blind spots in Strategic HRM theory. Paradox theory is introduced as an analytical framework for Sustainable HRM. Initial suggestions are made for sustainability strategies and for coping with paradoxes and tensions. The exploratory part examines how 50 European Multinationals communicate their understanding of sustainability and HRM and which HR issues and practices they are linking to the topic.
Folks came from all over the world to see the facility. There was a Disney-like area for small and big kids and celebrities riddled the property—country singers and stars of motion pictures alike. At the wonderful place of healing known as The Carolyn Center, led by Bernice Webber, hurt and damaged people can begin to mend from broken hearts, war, separation, betrayal, and loss. It is a village created by intertwined families and is family-owned and run with world-famous professionals on staff. The center has become so successful and renowned, Bernice is planning a great celebration. It has been advertised worldwide and has attracted a very famous guest speaker. But unbeknownst to Bernice, new and terrible secrets are about to be revealed as the next generation of The Carolyn Center’s families assumes prominence. This next installment of the multi-generational Bernice saga follows its cast of good and bad actors engaged in their complicated and often dangerous relationships fueled by love, rage, abandonment, and grief. But amidst all the emotional chaos, a broken romance somehow reignites and fresh beginnings are forged.
Leonardo’s Handwriting is a romantic morality tale, with an unconventional woman at its heart. Nature has given the heroine, Anna, the gift of clairvoyance, and it is this that determines her singular fate. The characteristic “left-handed mirror handwriting”, which in psychology came to be known as “Leonardo’s handwriting” (since that’s how the Renaissance genius wrote his notes), simply adds to the “weirdness” both of Anna’s personality and the twists and turns of the novel. Is the divine gift of prophecy a blessing or a curse? And how is it possible to withstand the burden of such an astonishing gift? This is also a novel about love: a strong, noble, tragic love, love, in short, that “is stretched to breaking point”. Here, as well as the classic love triangle, there is another character whose bizarre, platonic yearning for Anna resembles a call from the “mirror universe” that has entranced and attracted her since childhood. The reader must put together the pieces of this “mirror” puzzle of personalities and events in a storyline that falls into place and “comes into focus” like an image in a misted mirror—bit by bit. The events of the book become fully clear only in the very last paragraph.
Women's lives have changed dramatically over the course of the twentieth century: reduced fertility and the removal of formal barriers to their participation in education, work and public life are just some examples. At the same time, women are under-represented in many areas, are paid significantly less than men, continue to experience domestic violence and to bear the larger part of the burden in the domestic division of labour. Women in 2000 may have many more choices and opportunities than they had a hundred years ago, but genuine equality between men and women remains elusive. This unique, illustrated history discusses a wide range of topics organised into four parts: the life course - the experience of girlhood, marriage and the ageing process; the nature of women's work, both paid and unpaid; consumption, culture and transgression; and citizenship and the state.
Considers the HBO series Deadwood in the context of the television Western genre and the intersection of capital and violence in American history. By dramatizing the intersection of self-interested capitalism and foundational violence in a mining camp in 1870s South Dakota, the HBO series Deadwood reinvented the television Western. In this volume, Ina Rae Hark examines the groundbreaking series from a variety of angles: its relationship to past iterations of the genre on the small screen; its production context, both within the HBO paradigm and as part of the oeuvre of its creator and showrunner David Milch; and its thematics. Hark’s comprehensive analysis also takes into account the series’ trademark use of language: both its unrelenting and ferocious obscenity and the brilliant complexity of its dialogue. Hark argues that Deadwood dissolves several traditional binaries of the Western genre. She demonstrates that while the show appears to pit individuality, savagery, lawlessness, social regulation, and civilization against each other, its narrative shows that apparent opposites are often analogues, and these forces can morph into allies very quickly. Indeed, perhaps the show’s biggest paradox and most profound revelation is that self-interest and communitarianism cannot survive without each other. Hark closely analyzes Al Swearengen (as played by Ian McShane), the character who most embodies this paradox. A brutal cutthroat and purveyor of any vice that can turn him a profit, Swearengen nevertheless becomes the figure who forges connections among the camp’s disparate individuals and shepherds their growth into a community. Deadwood is quintessentially, if unflatteringly, American in what it reveals about the dark underpinnings of national success rooted not in some renewed Eden but in a town that is, in the apt words of one of its promotional taglines, "a hell of a place to make your fortune." Fans of the show and scholars of television history will enjoy Hark’s analysis of Deadwood.
How many people would kill to be a bestselling novelist? Especially one like Janet Evanovich.Writers want to know how a bestselling author thinks, writes, plans, and dreams her books. And they are primed for a book from Janet Evanovich that tells, in a witty Q&A format: - How she comes up with such remarkable characters - How she nails the perfect name every time - How she finds out insider details - Just how she sets up those masterful plots - What the life of a full-time writer is really like - What she'd tell an aspiring author about the publishing industry - And much, much more! This book details the elements of writing and publishing a novel, and addresses all categories of fiction-from mystery/thriller/action titles to romance; from stand-alone narratives to series. It offers practical and inspiring advice on such subjects as structuring a plot and handling rejection. And it combines one of today's most successful fiction writers with Ina Yalof, a published non-fiction writer who teaches creative fiction. HOW I WRITE is the perfect reference for anyone looking to improve their writing, and for those fans who are hungry to find out more about just how Janet Evanovich ticks.
This book presents (1) an exhaustive and empirically validated taxonomy of quality aspects of multimodal interaction as well as respective measurement methods, (2) a validated questionnaire specifically tailored to the evaluation of multimodal systems and covering most of the taxonomy‘s quality aspects, (3) insights on how the quality perceptions of multimodal systems relate to the quality perceptions of its individual components, (4) a set of empirically tested factors which influence modality choice, and (5) models regarding the relationship of the perceived quality of a modality and the actual usage of a modality.
Oh Well, Maybe Next Time is a gentle way of saying, “no.” It teaches children to understand disappointment with hope that it will work the next time. Ina has used this phrase with her own children, her students and her grandchildren. This children’s book follows the adventures of a grandmother and grandfather as they have fun and exciting days with their grandchildren. They read book, catch butterflies, fight imaginary dragons build a tent on a clothesline and visit an amusement park. Young readers will enjoy the familiar scenarios of spending time with their grandparents, and parents will appreciate the important lesson of having patience and a positive attitude.
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