Seven years ago, James Raimes and his wife bought a country home on nine acres in upstate New York. In the tradition of their family, who once owned a cottage named Fred, this larger property became "Ginger." Inspired by the natural beauty of the land and a desire to learn how to be a gardener, Raimes found himself obsessed with such questions as why gardeners keep moving plants around, what the names of the lawn grasses are, and how one can impose order in a garden and at the same time make it look natural. What, in fact, defines a garden? Gardening at Ginger is full of successes and failures, aches and pains, frustrations and delights. But more than that, it's the story of a great discovery: as we try to shape a landscape to reflect who we are, we find that who we are has been reshaped in the process.
The early twenty-first century has seen the emergence of a new style of television drama in Britain that adopts the professional practices and production values of high-end American television while remaining emphatically 'British' in content and outlook. This book analyses eight of these dramas - Spooks, Foyle's War, Hustle, Life on Mars, Ashes to Ashes, Downton Abbey, Sherlock and Broadchurch - which have all proved popular with audiences and in their different ways represent the thematic and formal paradigms of post-millennial drama. James Chapman locates new British drama in its institutional and economic contexts, considers their critical and popular reception, and analyses their social politics in relation to their representations of class, gender and nationhood. He demonstrates how contemporary drama has mobilised both new and residual elements in re-configuring genres such as the spy series, cop show and costume drama for the cultural tastes of modern audiences. And it concludes that television drama has played an integral role in both the economic and the cultural export of 'Britishness'.
Preparing to Teach Writing, Fourth Edition is a comprehensive survey of theories, research, and methods associated with teaching composition successfully at the middle, secondary, and college levels. Research and theory are examined with the aim of informing teaching. Practicing and prospective writing teachers need the information and strategies this text provides to be effective and well prepared for the many challenges they will face in the classroom. Features Current—combines discussions and references to foundational studies that helped define the field of rhetoric and composition, with updated research, theories, and applications Research based—thorough examination of relevant research in education, literacy, cognition, linguistics, and grammar Steadfast adherence to best practices based on how students learn and on how to provide the most effective writing instruction A Companion Website provides sample assignments and student papers that can be analyzed using the research and theory presented in the text.
The author offers answers to three central questions about well-being: the best way to understand it; whether it can be measured; and where it should fit in moral and political thought. This is a paperback reissue of the title published in hardback in 1986.
While the standard solid state topics are covered, the basic ones often have more detailed derivations than is customary (with an empasis on crystalline solids). Several recent topics are introduced, as are some subjects normally included only in condensed matter physics. Lattice vibrations, electrons, interactions, and spin effects (mostly in magnetism) are discussed the most comprehensively. Many problems are included whose level is from "fill in the steps" to long and challenging, and the text is equipped with references and several comments about experiments with figures and tables.
This is the story of the books punks read and why they read them. The Year's Work in the Punk Bookshelf challenges the stereotype that punk rock is a bastion of violent, drug-addicted, uneducated drop outs. Brian James Schill explores how, for decades, punk and postpunk subculture has absorbed, debated, and reintroduced into popular culture, philosophy, classic literature, poetry, and avant-garde theatre. Connecting punk to not only Hegel, Nietzsche, and Freud, but Dostoevsky, Rimbaud, Henry Miller, Kafka, and Philip K. Dick, this work documents and interprets the subculture's literary history. In detailing the punk bookshelf, Schill contends that punk's literary and intellectual interests can be traced to the sense of shame (whether physical, socioeconomic, cultural, or sexual) its advocates feel in the face of a shameless market economy that not only preoccupied many of punks' favorite writers but generated the entire punk polemic.
Three decades after its first publication, The New Wave is still considered one of the fundamental texts on the French film movement of the same name. Led by filmmakers as influential as Truffaut and Godard, the New Wave was a seminal moment in cinematic history, and The New Wave has been hailed as the most complete book ever written about it. The New Wave tells the story of the New Wave through examinations of five of the most important directors of the era: Truffaut, Godard, Chabrol, Rohmer, and Rivette. With detailed notes and over fifty breathtaking stills, the book has appealed both to academics and interested novices alike. The thirtieth anniversary edition includes a new afterword by the author. Praise for the first edition of The New Wave: “The most complete book I know on the five most important directors of the New Wave.” - Costa-Gavras “At last a book that intelligently and critically examines that remarkable phenomenon known as the New Wave. Not just a book for film buffs, it is essential reading for anyone interested in the interrelations between art, politics, and life in the second half of the twentieth century. A remarkable achievement.” - Richard Roud, Founder, New York Film Festival “There is a genuine kind of honesty at work in the writing: a sense that the author wishes to describe the subject more clearly, help the reader, and not ‘explain’ (in the pompous sense of the word) or criticize for the sake of being superior. It’s refreshing.” - Ted Perry, Museum of Modern Art
Or, Historical, Critical, Political, Philosophical, and Theological Essays on the Reigning Diversions of the Town... With a Preface, Giving an Account of the Author and the Work
Or, Historical, Critical, Political, Philosophical, and Theological Essays on the Reigning Diversions of the Town... With a Preface, Giving an Account of the Author and the Work
Previoulsy published in 1970. This volume, The Touch-Stone, contains a selection of essays from author James Ralph on a selection of topics, including Of Musick, Of Poetry, and Of Dancing.
This work is intended as a useful companion for anybody interested in general or basic knowledge about any aspect of the most populous state in the Union. It is designed to be serviceable to a wide variety of readers and consultants, whose range might include residents and tourists, high-school and college students, as well as scholars seeking a ready reference. At present no single volume comprehends such a scope as this one and although it treats its subjects briefly, many an entry also includes data not found elsewhere in a single place. Reference to hundreds of books and articles would be required to provide the information that is here between the two covers.
In the early twentieth century, a group of writers banded together in Moscow to create purely original modes of expression. These avant-garde artists, known as the Futurists, distinguished themselves by mastering the art of the scandal and making shocking denunciations of beloved icons. With publications such as "A Slap in the Face of Public Taste," they suggested that Aleksandr Pushkin, the founder of Russian literature, be tossed off the side of their "steamship of modernity." Through systematic and detailed readings of Futurist texts, James Rann offers the first book-length study of the tensions between the outspoken literary group and the great national poet. He observes how those in the movement engaged with and invented a new Pushkin, who by turns became a founding father to rebel against, a source of inspiration to draw from, a prophet foreseeing the future, and a monument to revive. Rann's analysis contributes to the understanding of both the Futurists and Pushkin's complex legacy. The Unlikely Futurist will appeal broadly to scholars of Slavic studies, especially those interested in literature and modernism.
Richard Gilman referred to How to Read a Film as simply "the best single work of its kind." And Janet Maslin in The New York Times Book Review marveled at James Monaco's ability to collect "an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way." Indeed, since its original publication in 1977, this hugely popular book has become the definitive source on film and media. Now, James Monaco offers a special anniversary edition of his classic work, featuring a new preface and several new sections, including an "Essential Library: One Hundred Books About Film and Media You Should Read" and "One Hundred Films You Should See." As in previous editions, Monaco once again looks at film from many vantage points, as both art and craft, sensibility and science, tradition and technology. After examining film's close relation to other narrative media such as the novel, painting, photography, television, and even music, the book discusses the elements necessary to understand how films convey meaning, and, more importantly, how we can best discern all that a film is attempting to communicate. In addition, Monaco stresses the still-evolving digital context of film throughout--one of the new sections looks at the untrustworthy nature of digital images and sound--and his chapter on multimedia brings media criticism into the twenty-first century with a thorough discussion of topics like virtual reality, cyberspace, and the proximity of both to film. With hundreds of illustrative black-and-white film stills and diagrams, How to Read a Film is an indispensable addition to the library of everyone who loves the cinema and wants to understand it better.
Prodigy. Iconoclast. Genius. Exile. Orson Welles remains one of the most discussed figures in cinematic history. In the centenary year of Welles's birth, James Naremore presents a revised third edition of this incomparable study, including a new section on the unfinished film The Other Side of the Wind. Naremore analyzes the political and psychological implications of the films, Welles's idiosyncratic style, and the biographical details--both playful and vexing--that impacted each work. Itself a historic film study, The Magic World of Orson Welles unlocks the soaring art and quixotic methods of a master.
While the standard solid state topics are covered, the basic ones often have more detailed derivations than is customary (with an empasis on crystalline solids). Several recent topics are introduced, as are some subjects normally included only in condensed matter physics. Lattice vibrations, electrons, interactions, and spin effects (mostly in magnetism) are discussed the most comprehensively. Many problems are included whose level is from "fill in the steps" to long and challenging, and the text is equipped with references and several comments about experiments with figures and tables.
James Mussell reads nineteenth-century scientific debates in light of recent theoretical discussions of scientific writing to propose a new methodology for understanding the periodical press in terms of its movements in time and space. That there is no disjunction between text and object is already recognized in science studies, Mussell argues; however, this principle should also be extended to our understanding of print culture within its cultural context. He provides historical accounts of scientific controversy, documents references to time and space in the periodical press, and follows magazines and journals as they circulate through society to shed new light on the dissemination and distribution of periodicals, authorship and textual authority, and the role of mediation in material culture. Well-known writers like H. G. Wells and Arthur Conan Doyle are discovered in new contexts, while other authors, publishers, editors, and scientists are discussed for the first time. Mussell is persuasive in showing how his methodology increases our understanding of the process of transformation and translation that underpins the production of print and informs current debates about the status of digital publication and the preservation of archival material in electronic forms. Adding to the book's usefulness are an extended bibliography and a discussion of recent debates regarding digital publication.
Pronouncements such as “the avant-garde is dead,” argues James M. Harding, have suggested a unified history or theory of the avant-garde. His book examines the diversity and plurality of avant-garde gestures and expressions to suggest “avant-garde pluralities” and how an appreciation of these pluralities enables a more dynamic and increasingly global understanding of vanguardism in the performing arts. In pursuing this goal, the book not only surveys a wide variety of canonical and noncanonical examples of avant-garde performance, but also develops a range of theoretical paradigms that defend the haunting cultural and political significance of avant-garde expressions beyond what critics have presumed to be the death of the avant-garde. The Ghosts of the Avant-Garde(s) offers a strikingly new perspective not only on key controversies and debates within avant-garde studies but also on contemporary forms of avant-garde expression within a global political economy.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
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.