This volume consists of 16 papers selected from the 22nd Southeast Conference on Foreign Languages, Literatures and Films held on February 25-27, 2016 on the campus of Stetson University in Celebration, Florida. The shared focus of the essays is to examine how writers, filmmakers and language educators address stereotypes in their representations of diverse cultural paradigms by using, deconstructing or displacing these stereotypes. The fourth section of this publication includes 4 experimental poems by the artist Susanne Eules.
The essays in this volume represent a cross-section of current scholarship examining the implications of the concept of Öffentlichkeit (the public sphere), originally conceived by the German philosopher Jürgen Habermas in the early 1960s, in his socio-historical study Strukturwandel der Öffentlichkeit (The Structural Transformation of the Public Sphere). The contributions herein add to the discourse surrounding an evolving public sphere using diverse perspectives to explore a variety of contexts in which this concept appears and reappears. For almost forty years, the Southeast Conference for Languages, Literatures and Film (SCFLLF) has been a premier platform for the discussion and dissemination of the latest scholarship in the Humanities, with emphasis on non-English area studies. The current volume showcases some of the most impactful papers originally presented at the 25th SCFLLF, held in Asheville, North Carolina, in March of 2023.
This book addresses the lack of scholarship on the impact of new media on German film. It provides analysis that focuses on cinematic practices and productions and how they have been affected by a variety of technologies. The author narrows her critical focus to specific examples that illustrate very particular effects. She focuses on filmmakers who are working outside of the established mainstream Hollywood studio production system. There is also usage of Bertolt BrechtOCOs theories on new media and theatre to better understand how technologies impact performance art. The book is most interested in how artists re-invent, re-define, or re-discover the form and content of the conventional medium of film and the cinema as an institution through the use of technological innovations.
Margit Heskett still eats seafood with a knife and fork and politely thanks those who serve her. Her walls are covered from floor to ceiling with artwork, and her shelves overflow with books. Her garden boasts a sculpture collection, and she loves to travel and seek new adventures. Her adult life mirrors her childhood. In this memoir, author Margit Heskett details not only her childhood in Czechoslovakia, but also her subsequent schooling, career, and international travels. Heskett, a natural storyteller, has lived a long and interesting life by learning to adjust quickly to new situations and looking at the bright side of life. She grew up in Bohemia and came to the United States in 1938 to attend college, becoming a United States citizen in 1944. Rich with detail, this memoir describes a long career of teaching, dancing, and traveling. Margits Red Book provides a telling narrative of Hesketts richly lived life and of interesting people, places, and situations. These memories may have sprung from hidden places, but they serve as a reminder of how precious ones life becomes and the surprises one uncovers when retracing the past.
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