Originally published in 1979, the central focus of this study is the concept of culture as employed by English literary intellectuals over the preceding 100 years, a period characterized by a constant process of re-definition and change. The tradition of criticism in which these intellectuals wrote represented the artistic imagination as a moral force in society and a fundamental mechanism for social change. The author traces this tradition through the writings of various English intellectuals, using the three main figures of Matthew Arnold, F. R. Leavis and Raymond Williams to elucidate the concept. She shows, through the writings of their contemporaries, how the concept was employed and modified, and her analysis ranges from J. S. Mill, John Ruskin and William Morris, through George Bernard Shaw, D. H. Lawrence, T. S. Eliot and R. H. Tawney to Richard Hoggard, Richard Wollheim and R. S. Peters. By discussing the questions of the role of art in society and examining their treatment by different groups of intellectuals, the author has supplied a basis for a forceful critique of the quality of life in modern industrial society. This book will be of interest to students of literature, cultural history and the sociology of culture.
Album multilingue : français, anglais, mi'kmaq, espagnol, allemand. L'énigmatique Milba apporte un message d'AMOUR, un sentiment universel qui embrasse toutes les religions et croyances. Ce message apaise ceux qui l'entendent et les comble de bonheur. Au fil du temps, ils oublient le sens de ce que le petit prophète leur avait livré. Les années passent, et ils attendent patiemment que le message les interpelle à nouveau.
Images of the golden age of wireless and family life before the age of television have widespread currency. Their dominance raises fundamental questions about the extent to which people’s memories of early radio and everyday pre-war life are shaped and mediated by these public histories. For geographical reasons radio has played an unusually important part in twentieth-century Australian life and culture. Australian radio must therefore stand as a major example in the study of the medium. This book, first published in 1988, examines the early history of Australian radio, looking at the beginnings of radio itself and at the ways in which cultural tasks were determined for it. This is a detailed analysis of radio discourse and the construction of audiences, drawing on a range of theoretical material to examine questions about the production and dynamics of popular culture, the relationship between politics and everyday life, and the changes brought about in women’s lives.
What effect has the black literary imagination attempted to have on, in Toni Morrison's words, "a race of readers that understands itself to be 'universal' or race-free"? How has black literature challenged the notion that reading is a race-neutral act? Race and the Literary Encounter takes as its focus several modern and contemporary African American narratives that not only narrate scenes of reading but also attempt to intervene in them. The texts interrupt, manage, and manipulate, employing thematic, formal, and performative strategies in order to multiply meanings for multiple readers, teach new ways of reading, and enable the emergence of antiracist reading subjects. Analyzing works by James Weldon Johnson, Zora Neale Hurston, Ralph Ellison, Jamaica Kincaid, Percival Everett, Sapphire, and Toni Morrison, Lesley Larkin covers a century of African American literature in search of the concepts and strategies that black writers have developed in order to address and theorize a diverse audience, and outlines the special contributions modern and contemporary African American literature makes to the fields of reader ethics and antiracist literary pedagogy.
Lesley Johnson's AMOUR, LOVE, KESALUEMK, AMOR, LIEBE was published in 2003 by Bouton d'or Acadie. Since then, she's completed the stories Susan Had a Chicken on Her Butt, There's No One Home, and The Banana Story of Agony, all of which have been collected here. This book straddles the line between graphic novel, art book, and children's book and fits perfectly into conundrum's mandate of publishing cross-genre work.
For more than a century, Ghost Ranch has attracted people of enormous energy and creativity to the high desert of northern New Mexico. Occupying twenty-two thousand acres of the Piedra Lumbre basin, this fabled place was the love of artist Georgia O’Keeffe’s life, and her depictions of the landscape catapulted Ghost Ranch to international recognition. Building on the history of the Abiquiu region that she told in Valley of Shining Stone, Ghost Ranch historian Lesley Poling-Kempes now unfolds the story of this celebrated retreat. She traces its transformation from el Rancho de los Brujos, a hideout for legendary outlaws, to a renowned cultural mecca and one of the Southwest’s premier conference centers. First a dude ranch, Ghost Ranch became a magical sanctuary where the veil between heaven and earth seemed almost transparent. Focusing on those who visited from the 1920s and ’30s until the 1990s, Poling-Kempes tells how O’Keeffe and others—from Boston Brahmin Carol Bishop Stanley to paleontologist Edwin H. Colbert, Los Alamos physicists to movie stars—created a unique community that evolved into the institution that is Ghost Ranch today. For this book, Poling-Kempes has drawn on information not available when Valley of Shining Stone was written. The biography of Juan de Dios Gallegos has been enhanced and definitively corrected. The Robert Wood Johnson (of Johnson & Johnson) years at Ghost Ranch are recounted with reminiscences from family members. And the memories of David McAlpin Jr. shed light on how the Princeton circle that included the Packs, the Johnson brothers, the Rockefellers, and the McAlpins ended up as summer neighbors on the high desert of New Mexico. After Arthur Pack’s gift of the ranch to the Presbyterian Church in 1955, Ghost Ranch became a spiritual home for thousands of people still awestruck by the landscape that O’Keeffe so lovingly committed to canvas; yet the care taken to protect Ghost Ranch’s land and character has preserved its sense of intimacy. By relating its remarkable story, Poling-Kempes invites all visitors to better appreciate its place as an honored wilderness—and to help safeguard its future.
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