How does literature give voice to the political? In what ways does it articulate a political dimension? For Jules Vallès (1832-1885), member of the Paris Commune of 1871 and editor of Le Cri du Peuple, author of the autobiographical trilogy, L'Enfant (1878), Le Bachelier (1881), and L'Insurgé (1886), the politics of literature is literally a matter of the voice, for it is inherent to the voice as matter: the grain of the voice, the physical trace of the voice in writing, the voice as a heterogeneous effect of writing. An indispensable work for all those interested in autobiographical voice and orality in literature, this study offers both a comprehensive theoretical reflection on the problem of orality and an innovative reading of Vallès disruptive literary voice, of his seminally modern aspiration toward a wide-ranging politics of contestation through the liberation of oral desire. A work of mordant irony and consuming passion, of prodigious wordplay and scatological humor, Vallès's trilogy revels in oral pleasure, in disfiguring improprieties of language that culminate in revolution. In Vallès's journalism as coup de gueule, in the physical embodiment of a revolutionary voice of the people, it is ultimately a utopic politics of orality that takes shape in the trilogy, one that strives toward radical popular action in the materiality of the voice, at the limit of the body in language: Le Cri du Peuple.
Drawing on their own research as well as scientific literature including evolutionary biology, animal behavior, ecology, anthropology, psychology and neuroscience, two cetacean biologists submerge themselves in the unique environment in which whales and dolphins live. --Publisher's description.
Known as "the Pearl of the Mediterranean," Izmir invokes a city and countryside blessed with good fortune; it is known to many as the homeland of Ephesus, Bergama, and Sardis. Yet, Turkey's third largest city has an especially vexed past. The Greek pursuit of the Megali Idea leveraged Classical history for 19th century political gains, and in so doing also foreshadowed the "Asia Minor Catastrophe." Princeton University's work at Sardis played into the duplicitous agendas of western archaeologists, learned societies, and diplomats seeking to structure heritage policy and international regulations in their favor, from the 1919 Paris Peace Conference to the League of Nations. A Pearl in Peril reveals the voices of those on the ground. It also explores how Howard Crosby Butler, William Hepburn Buckler, and William Berry penetrated the inner circle of world leaders, including Woodrow Wilson, Lloyd George, and Eleftherios Venizelos. On the smoldering ashes of Anatolia's scorched earth, foreign intervention continued apace with plans for large-scale development. A Pearl in Peril tackles the untold story of Julian Huxley's admiration of the US Tennessee Valley Authority's "principals of persuasion" in the context of the industrial landscapes and pursuit of modernity in the Aegean. The promise of UNESCO, too, brought diplomacy dollars deployed to foster "mutual understanding" through preservation programs at Sardis. Yet, from this same pot of money came support for "open intelligence" at the international fairs held in Izmir's Kültürpark, a turnkey battleground of the Cold War. Ironically, it was UNESCO's colossal Abu Simbel project in Egypt that led the US to abandon their preservation initiatives in Turkey. Five decades on, groves of organic olives, marble quarries and gold mines not only threaten the erasure of sacred landscapes, but also ensure the livelihood of local communities. Ultimately, A Pearl in Peril offers a bold assessment of diplomatic practice, perspectives of contemporary heritage, and the challenges of unprecedented expansion of city and countryside.
From Nanook of the North to Exit Through the Gift Shop, an overview of nonfiction film history from the early pioneers to the directors dominating the field todayAs one of the most fascinating areas of filmmaking, documentaries have broken down societal taboos, changed legislation, strengthened and rocked entire governments, freed wrongly convicted prisoners, and taught us more about the world in which we live. This overview of documentary history takes readers from the early "actualities" of pioneering nonfiction filmmakers such as Robert J. Flaherty and John Grierson, to the documentaries of Michael Moore, Errol Morris, Werner Herzog, and the directors dominating the field—and box office—today. An essential resource for film students, documentary buffs, filmmakers, and anyone interested in nonfiction film, it looks in-depth at more than 60 documentaries from around the world, covering a century of cinema, to illustrate what "documentary" means, and the changes and transitions that have occurred in nonfiction filmmaking over the years. Covering films such as Night Mail, Night and Fog, The Sorrow and the Pity, F for Fake, The Thin Blue Line, Hoop Dreams, Fahrenheit 9/11, Grizzly Man, and Man on Wire, each analysis includes an introductory synopsis, as well as detailed notes on the film's production history, filmmaker, unique innovations, construction, and key themes and issues.
A groundbreaking contribution to Rilke scholarship that significantly expands the existing debate concerning the relation between Rilke's poetry and phenomenological philosophy"--
German artist Kurt Schwitters (1887–1948) is best known for his pioneering work in fusing collage and abstraction, the two most transformative innovations of twentieth-century art. Considered the father of installation art, Schwitters was also a theorist, a Dadaist, and a writer whose influence extends from Robert Rauschenberg and Eva Hesse to Thomas Hirschhorn. But while his early experiments in collage and installation from the interwar period have garnered much critical acclaim, his later work has generally been ignored. In the first book to fill this gap, Megan R. Luke tells the fascinating, even moving story of the work produced by the aging, isolated artist under the Nazi regime and during his years in exile. Combining new biographical material with archival research, Luke surveys Schwitters’s experiments in shaping space and the development of his Merzbau, describing his haphazard studios in Scandinavia and the United Kingdom and the smaller, quieter pieces he created there. She makes a case for the enormous relevance of Schwitters’s aesthetic concerns to contemporary artists, arguing that his later work provides a guide to new narratives about modernism in the visual arts. These pieces, she shows, were born of artistic exchange and shaped by his rootless life after exile, and they offer a new way of thinking about the history of art that privileges itinerancy over identity and the critical power of humorous inversion over unambiguous communication. Packed with images, Kurt Schwitters completes the narrative of an artist who remains a considerable force today.
Captain Isaac "Ike" Emerson, riding high on the international success of his patent, Bromo-Seltzer, lived a storied life of opulence. This first biography of the "Bromo-Seltzer King" traces his path from North Carolina farm boy to Baltimore-based multimillionaire with a penchant for lavish entertaining. Emerson is presented as an entrepreneur, patriot, civic leader, sportsman, and philanthropist. He was a phenom in his era, and this book, drawing from archival records, newspapers of the day, and interviews with descendants, details the ups and downs of his complex and indulgent life.
Collaboration between ethnographers and subjects has long been a product of the close, intimate relationships that define ethnographic research. But increasingly, collaboration is no longer viewed as merely a consequence of fieldwork; instead collaboration now preconditions and shapes research design as well as its dissemination. As a result, ethnographic subjects are shifting from being informants to being consultants. The emergence of collaborative ethnography highlights this relationship between consultant and ethnographer, moving it to center stage as a calculated part not only of fieldwork but also of the writing process itself. The Chicago Guide to Collaborative Ethnography presents a historical, theoretical, and practice-oriented road map for this shift from incidental collaboration to a more conscious and explicit collaborative strategy. Luke Eric Lassiter charts the history of collaborative ethnography from its earliest implementation to its contemporary emergence in fields such as feminism, humanistic anthropology, and critical ethnography. On this historical and theoretical base, Lassiter outlines concrete steps for achieving a more deliberate and overt collaborative practice throughout the processes of fieldwork and writing. As a participatory action situated in the ethical commitments between ethnographers and consultants and focused on the co-construction of texts, collaborative ethnography, argues Lassiter, is among the most powerful ways to press ethnographic fieldwork and writing into the service of an applied and public scholarship. A comprehensive and highly accessible handbook for ethnographers of all stripes, The Chicago Guide to Collaborative Ethnography will become a fixture in the development of a critical practice of anthropology, invaluable to both undergraduates, graduate students, and faculty alike.
Between June 1967 and the end of 1973, most independent Black African states abandoned their neutral position in the Middle East conflict, cut their ties with Israel, and gave full support to the political aims of the Arab states. Since the beginning of 1974, however, and despite attempts by the Arabs to shield their new allies from the adverse effects of the 1973-74 world oil and economic crises, the alliance has begun to fragment as the African states become transformed from partners to clients and dependents of the Arabs. This study examines the roots of the African conversion, the nature of the evolving relationship between the African and Arab states, and the reasons—economic and political—for the transformation of the alliance. Basic to that transformation, the authors argue, is a fundamental change in the international status and power of the Arab states, a change that has led them to cast their lot with the industrialized "First World" rather than with the poorer, less developed countries.
War devastates the lives of those who are caught up in it. For thousands of years, reparations have been used to secure the end of war and alleviate its deleterious consequences. More recently, human rights law has established that victims have a right to reparations. Yet, in the face of conflicts that last for decades with millions of victims, how feasible are reparations? And what are the obstacles to delivering them? Using interviews with hundreds of victims, ex-combatants, government officials, and civil society actors from six post-conflict countries, Reparations and War examines the history, theoretical justifications, and practical challenges of implementing reparations after war. It examines the role of non-state armed groups in making reparations, the role of victim mobilisation, the evolving use of reparations, and the political instrumentalization of redress. Luke Moffett offers a measured and honest account of what reparations can and cannot do. This book sheds new light on how reparations can be politically manipulated, or used to reward those loyal to the State, rather than to achieve justice for the victims who suffer.
How does literature give voice to the political? In what ways does it articulate a political dimension? For Jules Vall�s (1832-1885), member of the Paris Commune of 1871 and editor of Le Cri du Peuple, author of the autobiographical trilogy, L'Enfant(1878), Le Bachelier(1881), and L'Insurg�(1886), the politics of literature is literally a matter of the voice, for it is inherent to the voice as matter: the grain of the voice, the physical trace of the voice in writing, the voice as a heterogeneous effect of writing. An indispensable work for all those interested in autobiographical voice and orality in literature, this study offers both a comprehensive theoretical reflection on the problem of orality and an innovative reading of Vall�s disruptive literary voice, of his seminally modern aspiration toward a wide-ranging politics of contestation through the liberation of oral desire. A work of mordantirony and consumingpassion, of prodigious wordplay and scatological humor, Vall�s's trilogy revels in oral pleasure, in disfiguring improprieties of language that culminate in revolution. In Vall�s's journalism as coup de gueule, in the physical embodiment of a revolutionary voice of the people, it is ultimately a utopic politics of orality that takes shape in the trilogy, one that strives toward radical popular action in the materiality of the voice, at the limit of the body in language: Le Cri du Peuple.
What makes this commentary on Luke stand apart from others is that, from beginning to end, this is a literary analysis. Because it focuses solely on the gospel as it appears and not on its source or origin, this commentary richly and thoroughly explores just what Luke is saying and how he says it.
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