In Joseph Conrad’s tales, representations of women and of "feminine" generic forms like the romance are often present in fugitive ways. Conrad’s use of allegorical feminine imagery, fleet or deferred introductions of female characters, and hybrid generic structures that combine features of "masculine" tales of adventure and intrigue and "feminine" dramas of love or domesticity are among the subjects of this literary study. Many of Conrad’s critics have argued that Conrad’s fictions are aesthetically flawed by the inclusion of women and love plots; thus Thomas Moser has questioned why Conrad did not "cut them out altogether." Yet a thematics of gender suffuses Conrad’s narrative strategies. Even in tales that contain no significant female characters or obvious love plots, Conrad introduces elusive feminine presences, in relationships between men, as well as in men’s relationships to their ship, the sea, a shore breeze, or even in the gendered embrace of death. This book investigates an identifiably feminine "point of view" which is present in fugitive ways throughout Conrad’s canon. Conrad’s narrative strategies are articulated through a language of sexual difference that provides the vocabulary and grammar for tales examining European class, racial, and gender paradigms to provide acute and, at times, equivocal investigations of femininity and difference.
New York presents a special challenge to attorneys, because its evidence law has not been codified into rules. NITA’s guide will help you to readily make and respond to objections trial objections. Use the thumb tabs to quickly locate the information you need. Each section provides the applicable New York case law and statutes (updated through 2017), an explanation giving the reason for the law, and the current understanding of it. This complete reference guide to New York evidence travels easily to the courtroom or classroom. NITA's handy guide enables you to quickly reference objections and responses during trial. Objections, followed by their accurate responses, are listed alphabetically with thumb tabs so that you can go right to the one you want. Gain insight from crucial practice tips and legal interpretations and access the rules when you need them most--this pocket-size guide is always at hand.
This is the first book to take us inside Youth Radio for a fascinating, behind-the-scenes look at a unique, Peabody Award-winning organization that produces distinctive content for outlets from National Public Radio to YouTube. Young people come to Youth Radio, headquartered in Oakland, California, from under-resourced public schools and neighborhoods in order to produce media that will transform both their own lives and the world around them. Drop That Knowledge weaves their compelling personal stories into a fresh framework for understanding the relationship between media, learning, and youth culture at a moment when all three spheres are undergoing dramatic change. The book emphasizes what is innovative and exciting in youth culture and offers concrete strategies for engaging and collaborating with diverse groups of young people on real-world initiatives in a range of settings, online and in real life.
In Joseph Conrad’s tales, representations of women and of "feminine" generic forms like the romance are often present in fugitive ways. Conrad’s use of allegorical feminine imagery, fleet or deferred introductions of female characters, and hybrid generic structures that combine features of "masculine" tales of adventure and intrigue and "feminine" dramas of love or domesticity are among the subjects of this literary study. Many of Conrad’s critics have argued that Conrad’s fictions are aesthetically flawed by the inclusion of women and love plots; thus Thomas Moser has questioned why Conrad did not "cut them out altogether." Yet a thematics of gender suffuses Conrad’s narrative strategies. Even in tales that contain no significant female characters or obvious love plots, Conrad introduces elusive feminine presences, in relationships between men, as well as in men’s relationships to their ship, the sea, a shore breeze, or even in the gendered embrace of death. This book investigates an identifiably feminine "point of view" which is present in fugitive ways throughout Conrad’s canon. Conrad’s narrative strategies are articulated through a language of sexual difference that provides the vocabulary and grammar for tales examining European class, racial, and gender paradigms to provide acute and, at times, equivocal investigations of femininity and difference.
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