This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and artist with a worldwide reputation who made eighteenth-century Birmingham a city without typographic equal, by changing the course of type design. Baskerville not only designed one of the world's most historically important typefaces, he also experimented with casting and setting type, improved the construction of the printing-press, developed a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his time, had an international impact and did much to enhance the printing and publishing industries of his day. Yet despite his importance, fame and influence many aspects of Baskerville's work and life remain unexplored and his contribution to the arts, industry, culture and society of the Enlightenment are largely unrecognized. Moreover, recent scholarly research in archaeology, art and design, history, literary studies and typography, is leading to a fundamental reassessment of many aspects of Baskerville's life and impact, including his birthplace, his work as an industrialist, the networks which sustained him and the reception of his printing in Britain and overseas. The last major, but inadequate publication of Baskerville dates from 1975. Now, forty years on, the time is ripe for a new book. This interdisciplinary approach provides an original contribution to printing history, eighteenth-century studies and the dissemination of ideas.
In this groundbreaking book, Malcolm Frierson moves comedy from the margins to the center of the American Civil Rights Movement. Freedom in Laughter reveals how stand-up comedians Dick Gregory and Bill Cosby used their increasing mainstream success to advance political issues, albeit differently. Frierson first explores Gregory's and Cosby's adolescent experiences in St. Louis and Philadelphia and then juxtaposes the comedians' diverging humor and activism. The fiery Gregory focused on the politics of race, winning him credibility at the expense of his career in the long term, while Cosby focused on the politics of respectability, catapulting him to television and film stardom. Although militant blacks repeatedly questioned Cosby's image, Frierson suggests he and Gregory both carried the aims of the black freedom struggle. With an epilogue that considers the comedians' post–civil rights era trajectories, this book is accessibly written and filled with Gregory's and Cosby's original material, appealing to academics, history buffs, and anyone interested in American popular culture.
To a remarkable extent the filmscript of Tender is theNight, which Malcolm Lowry wrote in 1949-50 with the help ofMargerie Bonner Lowry, is less an adaptation of F. ScottFitzgerald's novel than an extension of Lowry's own fiction. AsMiguel Mota and Paul Tiessen show, Malcolm Lowry's script containsimportant passages which are really "cinematic" restatementsof parts of Lowry's novel Lunar Caustic, and of shortstories such as "Through the Panama" and "StrangeComfort Afforded by the Profession." The editors note also the many direct and indirect allusions toelements from Lowry's master-work, Under the Volcano(1947), a novel that is regarded by many critics as one of the most"cinematic" prose works of the twentieth century. A closestudy of the text reveals that Lowry took on the Tender is the Nightproject partly as a means of reopening his Under the Volcanonarrative, of re-exploring its plot and problems and its characters andthemes, and of carrying as far as possible the "cinematic"style he had begun to examine in that work. Lowry's Tender is the Night manuscript is important,then, not only as a completed, 455-page text in its own right but alsoas a text having a direct bearing on Lowry's own reading ofUnder the Volcano and of his sense of artistic direction afterthat work. Indeed, the editors consider the significance of thefilmscript as a key - hitherto almost entirely overlooked - tounderstanding his projected multiple volume work, The Voyage ThatNever Ends. This scholarly edition of Lowry's script presents 38 passages ofvarying length - from less than one page to over 100 pages - in whichLowry writes with a freedom and creativity that lead to a textnarratively and stylistically quite separate and distinct fromFitzgerald's original. It excludes passages where Lowry adheresmore or less slavishly, at 37 intervals, to Fitzgeralds' novel,though it provides brief narrative summaries of and comments on thoseomitted sections. Lowry's achievement in his filmscript demonstrates the nature ofhis life-long commitment to and extensive knowledge of theinternational cinema from the 1910s to the 1950s and also the nature ofhis view of the novelist's responsibility to participate in thedevelopment of film as an art. The script also illustrates Lowry's relationship with F. ScottFitzgerald as one in a series of literary kinships, and as the editorspoint out, the work becomes a criticism and analysis of bothFitzgerald's novel and of Fitzgerald himself.
A deathless creature with an insatiable appetite for blood, Varney is the antihero of this epic, which predates Dracula and establishes many of the conventions associated with vampirism.Volume 1 of 2.
A crayfish party is being held on a private island in the Finnish archipelago in honor of Ray Dunhew, who is an important customer of the party’s host and who is visiting Finland for the first time. Copious amounts of schnapps will be consumed and the host and his wife have solicited the help of Sophie, the attractive eighteen-year-old daughter of very good friends of theirs, to make sure the schnapps glass of each and every guest is topped up. All goes well until most of the crayfish have been consumed and Sophie is walking round the table filling up the glasses for the last time. As she stands beside Dunhew, filling up his glass, she freezes. She gives him a long hard look and then continues round the table filling up everyone else’s glass. She then goes back into the kitchen and, with tears in her eyes, reports that Dunhew had just molested her. The morning before Dunhew is due to fly back to England, he goes missing.
Named One of the Year's Best Books by VULTURE • THE NEW REPUBLIC • DAZED • WIRED • BLOOMBERG • ESQUIRE • SALON • THE NEXT BIG IDEA CLUB The history of Silicon Valley, from railroads to microchips, is an “extraordinary” story of disruption and destruction, told for the first time in this comprehensive, jaw-dropping narrative (Greg Grandin, Pulitzer Prize-winning author of The End of the Myth). Palo Alto’s weather is temperate, its people are educated and enterprising, its corporations are spiritually and materially ambitious and demonstrably world-changing. Palo Alto is also a haunted toxic waste dump built on stolen Indian burial grounds, and an integral part of the capitalist world system. In PALO ALTO, the first comprehensive, global history of Silicon Valley, Malcolm Harris examines how and why Northern California evolved in the particular, consequential way it did, tracing the ideologies, technologies, and policies that have been engineered there over the course of 150 years of Anglo settler colonialism, from IQ tests to the "tragedy of the commons," racial genetics, and "broken windows" theory. The Internet and computers, too. It's a story about how a small American suburb became a powerful engine for economic growth and war, and how it came to lead the world into a surprisingly disastrous 21st century. PALO ALTO is an urgent and visionary history of the way we live now, one that ends with a clear-eyed, radical proposition for how we might begin to change course.
In the following chapters, I offer an evolutionary account of morality and from that extrapolate a version of contractarianism I call consent theory. Game theory helps to highlight the evolution of morality as a resolution of interpersonal conflicts under strategic negotiation. It is this emphasis on strategic negotiation that underwrites the idea of consent. Consent theory differs from other contractarian models by abandoning reliance on rational self-interest in favour of evolutionary adaptation. From this, more emphasis will be placed on consent as natural convergence rather than consent as an idealization. My picture of contractarianism, then, ends up looking more like the relativist model offered by Harman, rather than the rational (or pseudo-rational) model offered by Gauthier, let alone the Kantian brands of Rawls or Scanlon. So at least some of my discussion will dwell on why it is no loss to abandon hope for the universal, categorical morality that rational models promise. In the introduction, I offer the betting analogy that underwrites the remaining picture. There are some bets where the expected utility is positive, though the odds of winning on this particular occasion are exceedingly low. In such cases, we cannot hope to give an argument that taking the bet is rational. The only thing we can say is that those predisposed to take this kind of bet on these kinds of occasions will do better than those with other dispositions, so long as such games occur often enough.
Offering a unique window into the relationship between boards and management from the valuable perspective of insiders, this resource focuses on what companies need to do in order to gain maximum advantage from a board-management relationship.
A collection of short works offers stories that range in setting from a ghost-ridden cellar to a hotel convention of serial kilers, and includs works by Gene Wolfe, Clive Barker, Tad Williams, and Barbara Hambly.
The Question tries to find a manufacturer of deadly plastic guns and attends his high school reunion. Then, as the election of a new mayor is being held, a tornado tears through Hub City, killing the new mayor-elect and leaving an unlikely bureaucrat to fill his shoes" -- p. [4] of cover.
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