A sumptuously documented book, one that makes innovative use of the principle of montage to generate informative historical readings of Japan's myriad mass cultural phenomena in the early twentieth century. Both in terms of its scholarship and its methodology, this is a truly admirable work."—Rey Chow, Andrew W. Mellon Professor of the Humanities, Brown University "As Miriam Silverberg has brilliantly shown here, the modern times of 1920s and ‘30s Japan were rendered in a cacophony of cultural mixing: a period of consumerist desires and Hollywood fantasy-making but also the rise of nationalist empire-building. Excavating its kaleidoscope of everyday culture Silverberg astutely offers a theory of montage for how Japanese subjects 'code-switched' in juggling the mixed cultural/political elements of these times. Utilizing a montage of media, texts, sites, and scholarship, Silverberg leads the reader into the terrain of the 'erotic grotesque nonsense' in a work that is as scintillating as it is theoretically important."—Anne Allison, author of Millennial Monsters: Japanese Toys and the Global Imagination "Unlike other scholars who merely view ero-guro-nansensu in its literal meanings, Silverberg brilliantly documents it as a complex cultural aesthetic expressed in a spectrum of fascinating mass culture forms and preoccupations. With great erudition and humor, she traces the sensory and conceptual modes that are animated with potency and sophistication through this cultural metaphor. This book is destined to be a classic in Japan scholarship."—Laura Miller, author of Beauty Up: Exploring Contemporary Japanese Body Aesthetics
Kracauer. Film, medium of a disintegrating world. -- Curious Americanism. -- Benjamin. Actuality, antinomies. -- Aura: the appropriation of a concept. -- Mistaking the moon for a ball. -- Micky-maus. -- Room-for-play. -- Adorno. The question of film aesthetics. -- Kracauer in exile. Theory of film.
Although cinema was invented in the mid-1890s, it was a decade more before the concept of a “film spectator” emerged. As the cinema began to separate itself from the commercial entertainments in whose context films initially had been shown—vaudeville, dime museums, fairgrounds—a particular concept of its spectator was developed on the level of film style, as a means of predicting the reception of films on a mass scale. In Babel and Babylon, Miriam Hansen offers an original perspective on American film by tying the emergence of spectatorship to the historical transformation of the public sphere. Hansen builds a critical framework for understanding the cultural formation of spectatorship, drawing on the Frankfurt School’s debates on mass culture and the public sphere. Focusing on exemplary moments in the American silent era, she explains how the concept of the spectator evolved as a crucial part of the classical Hollywood paradigm—as one of the new industry’s strategies to integrate ethnically, socially, and sexually differentiated audiences into a modern culture of consumption. In this process, Hansen argues, the cinema might also have provided the conditions of an alternative public sphere for particular social groups, such as recent immigrants and women, by furnishing an intersubjective context in which they could recognize fragments of their own experience. After tracing the emergence of spectatorship as an institution, Hansen pursues the question of reception through detailed readings of a single film, D. W. Griffith’s Intolerance (1916), and of the cult surrounding a single star, Rudolph Valentino. In each case the classical construction of spectatorship is complicated by factors of gender and sexuality, crystallizing around the fear and desire of the female consumer. Babel and Babylon recasts the debate on early American cinema—and by implication on American film as a whole. It is a model study in the field of cinema studies, mediating the concerns of recent film theory with those of recent film history.
Caught in a violent storm and blown far off their intended course, five American airmen--flying the dangerous Himalayan supply route known as "The Hump"--were forced to bail out just seconds before their plane ran out of fuel. To their astonishment, they found they had landed in the heart of Tibet. There they had to confront what, to them, seemed a bizarre--even alien--people. At the same time, they had to extricate themselves from the political turmoil that even then was raging around Tibet's right to be independent from China. Now back in print, Lost in Tibet is an extraordinary story of high adventure that sheds light on the remarkable Tibetan people, just at the moment when they were coming to terms with a hostile outside world.
Seventy five years ago, while Korea was under the Japanese suppression, children of Korean-Japanese mixture were rare phenomena. The author, whose parents were Korean and Japanese, would like to tell the story of her life from 1929 to 1945. This is also a record of social life of very ordinary citzens. By reading the story, one can have a glimpse of life in Japan, Korea and China prior to the end of World War II. Aiko's journey continues.
Demers revives the memory of journalist Miriam Green Ellis, an all-but-forgotten feminist, suffragist, and agricultural reporter who documented the modernist sphere for over four decades and who refused to be confined to the "women's pages." With written material from the University of Alberta's Miriam Green Ellis Collection, accompanied by an excellent selection of photographs, Ellis's inimitable voice and views on Albertans, westerners, and Canadians in the early decades of the twentieth century emerge clearly. Readers interested in Canadian women studies, journalism, or feminism will find Ellis's highly coloured perspective both entertaining and informative.
This unique book provides practical and legal clarity on all questions concerning landlord's consent, such as: What is a valid and effective request for consent? When can a tenant impose its desire for change on a reluctant landlord? What is a reasonable as opposed to an unreasonable refusal of consent? And what are the perils if either side calls it wrong? Since the last edition of this book in 2008, the law relating to landlord's consent, has evolved considerably. The purpose of this new edition is to bring that evolution into the much-loved analysis which have made practitioners say that previous editions have been that rare beast: a book about law that is actually enjoyable to read and which allows the practitioner and student clearly to see the wood for the trees.
Succession, Wills and Probate is an ideal textbook for those taking an undergraduate course in this surprisingly vibrant subject, and also provides a clear and comprehensive introduction for professionals. Against an account of the main social and political themes of succession law, the book gives detailed explanations of core topics such as alternatives to wills and the making, altering and revocation of wills. It also explains personal representatives and how they should deal with a deceased person's estate and interpret and implement the will. Gifts may fail, estates may be insolvent or a person may die intestate, without a will at all. Increasingly relatives and others seek to challenge the will, for example on the grounds of the testator's capacity or under the law of family provision. This third edition is edited, updated and revised to take account of new legislation and case law across all the relevant issues, including a new final chapter dealing with the potentially contentious issues that are becoming more central to professional work in the field of succession.
Stealing the Show is a study of African American actors in Hollywood during the 1930s, a decade that saw the consolidation of stardom as a potent cultural and industrial force. Petty focuses on five performers whose Hollywood film careers flourished during this periodÑLouise Beavers, Fredi Washington, Lincoln ÒStepin FetchitÓ Perry, Bill ÒBojanglesÓ Robinson, and Hattie McDanielÑto reveal the Òproblematic stardomÓ and the enduring, interdependent patterns of performance and spectatorship for performers and audiences of color. She maps howÊthese actorsÑthough regularly cast in stereotyped and marginalized rolesÑemployed various strategies of cinematic and extracinematic performance to negotiate their complex positions in Hollywood and to ultimately Òsteal the show.Ó Drawing on a variety of source materials, Petty explores these starsÕ reception among Black audiences and theorizes African American viewership in the early twentieth century. Her book is an important and welcome contribution to the literature on the movies.
This pathbreaking analysis of Roman political culture in the middle Republic focuses on the concerns of the Roman Senate as it decided whether or not to award a victorious general triumphal honors. Miriam R. Pelikan Pittenger's strikingly original approach illuminates this process by examining several Senate debates as reported by the historian Livy. The conduct of these debates illustrates the competitive ethos in the elite and mirrors creative tensions between the magistrates, the Senate, and the people of Rome. Contested Triumphs shows how Livy dramatized the process of history in the making and vividly demonstrates how it is the struggle itself that remains most vital.
We have always associated blackness with failure, negativity, and witchcraft. We have always associated darkness with less than, disapproval, and unattractiveness. We have always associated blackness with inequality, injustice, and incrimination. However, it is in the midst of the darkness that things began to adapt and organize. It is in the middle of the night that things start to grow and develop. It is in the midst of the darkness that things ultimately reproduce as in the story of the Black Diamond.
[A] memorable portrait of a struggling young person who finds unexpected resilience and peace . . . Hilarious, heartbreaking, and poignant." —Booklist Miriam Toews welcomes her readers to the Have–a–Life housing project (better known as Half–a–Life). The welfare regulations are endless and the rate–fink neighbors won't mind their own business. Lucy Von Alstyne sends fictitious letters to her friend Alicia, pretending to be the father of Alicia's twins. When the two mothers and their five children set off on a journey to find him, facing along the way the complications of living in poverty and raising fatherless children, Lucy discovers this just may be the summer of her amazing luck.
This book chronicles the political and personal lives of progressive activists Richard and Miriam Flacks. Their story, rooted in 'old left' childhoods, shaped by the sixties New Left, and culminating in intellectual and community leadership, is a valuable first-hand account of how progressive American activism has evolved over the last 100 years.
This book aims to examine the nature of and resistance to gendered urban violence among Brazilian women in London and in the favelas of Maré, Rio de Janeiro. Drawing on the conceptualisation of translocational gendered urban violence framework, it highlights the importance of examining direct forms of gender-based violence across private, public and transnational spheres as interlinked with structural, symbolic and infrastructural violence. The book also explores the embodied and spatialised nature of gendered urban violence, explored through artistic engagements and arts-based methods. In developing a translocational feminist tracing methodological and epistemological approach across the social sciences and the arts, the book argues for the importance of a collaborative approach among academic, civil society organisations, artists and creative researchers with a view to engendering empathetic transformation to address gendered urban violence in the long-term.
For more than seven decades the circuses enjoyed tremendous popularity in the Soviet Union. How did the circus—an institution that dethroned figures of authority and refused any orderly narrative structure—become such a cultural mainstay in a state known for blunt and didactic messages? Miriam Neirick argues that the variety, flexibility, and indeterminacy of the modern circus accounted for its appeal not only to diverse viewers but also to the Soviet state. In a society where government-legitimating myths underwent periodic revision, the circus proved a supple medium of communication. Between 1919 and 1991, it variously displayed the triumph of the Bolshevik revolution, the beauty of the new Soviet man and woman, the vulnerability of the enemy during World War II, the prosperity of the postwar Soviet household, and the Soviet mission of international peace—all while entertaining the public with the acrobats, elephants, and clowns. With its unique ability to meet and reconcile the demands of both state and society, the Soviet circus became the unlikely darling of Soviet culture and an entertainment whose usefulness and popularity stemmed from its ambiguity.
A small rural community in the Low Country along Ocean Highway, Green Pond, South Carolina, has long lacked cultural and educational opportunities for its young people’s future success. Still, many have gone on to serve in the highest levels of education, government, public service, elected office, business, and medicine. So much success against the odds suggests surely There Must Be Something in the Water. Abbiegail Hugine chronicles the impact just 42 of Green Pond’s many children have gone on to make in the world. These inspirational stories prove that, regardless of one’s background, we can all find our own paths toward greatness.
So who was Jack the Ripper? No-one in the annals of crime is capable of arousing such passionate debate as the perpetrator of the Whitechapel Murders in 1888. Was he a demented Royal, a Masonic assassin, a sexually-frustrated artist, a member of the Czarist secret police, a crazed reformist or even an escaped gorilla? More than a century has passed since this unknown killer murdered East End prostitutes under the very noses of the police and yet we seem no closer to uncovering the Ripper's identity. Countless volumes have been written by warring researchers, seemingly unable to agree even on the number of his victims. Is it possible that we will ever know the truth or is the Ripper destined to remain an enigma, his place in history secured as both an English-heritage crime icon and a universal bogeyman? This revised and updated edition contains a summary of Jack's crimes, victims and the ill-fated police investigation. It considers many of the Ripper's proposed identities, bringing you up to date with the latest suspects and includes a guide to the Ripper's many fictional outings, from The Lodger to From Hell.
Set in Soweto outside Johannesburg, Between Two Worlds is one of the most important novels of South Africa under apartheid. Originally published under the title Muriel at Metropolitan, the novel was for some years banned (on the grounds of language derogatory to Afrikaners) even as it received worldwide acclaim. It was later issued in the Longman African Writers Series, but has for some years been out of print and unavailable. This Broadview edition includes a new introduction by the author describing the circumstances in which she wrote Between Two Worlds.
There is no one on earth quite so wonderful' STEPHEN FRY 'As outrageously entertaining as you'd expect' Daily Express BAFTA-winning actor, voice of everything from Monkey to the Cadbury's Caramel Rabbit, creator of a myriad of unforgettable characters from Lady Whiteadder to Professor Sprout, MIRIAM MARGOLYES, OBE, is the nation's favourite (and naughtiest) treasure. Now, at the age of 80, she has finally decided to tell her extraordinary life story - and it's well worth the wait. Find out how being conceived in an air-raid gave her curly hair; what pranks led to her being known as the naughtiest girl Oxford High School ever had; how she ended up posing nude for Augustus John as a teenager; why Bob Monkhouse was the best (male) kiss she's ever had; and what happened next after Warren Beatty asked 'Do you fuck?' From declaring her love to Vanessa Redgrave to being told to be quiet by the Queen, this book is packed with brilliant, hilarious stories. With a cast list stretching from Scorsese to Streisand, a cross-dressing Leonardo di Caprio to Isaiah Berlin, This Much Is True is as warm and honest, as full of life and surprises, as its inimitable author.
How the queer correspondence art of Ray Johnson disrupted art world conventions and anticipated today’s highly networked culture Once regarded as “New York’s most famous unknown artist,” Ray Johnson was a highly visible outlier in the art world, his mail art practice reflecting the changing social relations and politics of queer communities in the 1960s. A vital contribution to the growing scholarship on this enigmatic artist, Queer Networks analyzes how Johnson’s practice sought to undermine the dominant mechanisms of the art market and gallery system in favor of unconventional social connections. Utilizing the postal service as his primary means of producing and circulating art, Johnson cultivated an international community of friends and collaborators through which he advanced his idiosyncratic body of work. Applying both queer theory and network studies, Miriam Kienle explores how Johnson’s radical correspondence art established new modes of connectivity that fostered queer sensibilities and ran counter to the conventional methods by which artists were expected to develop their reputation. While Johnson was significantly involved with the Pop, conceptual, and neo-Dada art movements, Queer Networks crucially underscores his resistance to traditional art historical systems of categorization and their emphasis on individual mastery. Highlighting his alternative modes of community building and playful antagonism toward art world protocols, Kienle demonstrates how Ray Johnson’s correspondence art offers new ways of envisioning togetherness in today’s highly commodified and deeply networked world.
First published serially in the Yiddish daily newspaper di Varhayt in 1916–18, Diary of a Lonely Girl, or The Battle against Free Love is a novel of intimate feelings and scandalous behaviors, shot through with a dark humor. From the perch of a diarist writing in first person about her own love life, Miriam Karpilove’s novel offers a snarky, melodramatic criticism of radical leftist immigrant youth culture in early twentieth-century New York City. Squeezed between men who use their freethinking ideals to pressure her to be sexually available and nosy landladies who require her to maintain her respectability, the narrator expresses frustration at her vulnerable circumstances with wry irreverence. The novel boldly explores issues of consent, body autonomy, women’s empowerment and disempowerment around sexuality, courtship, and politics. Karpilove immigrated to the United States from a small town near Minsk in 1905 and went on to become one of the most prolific and widely published women writers of prose in Yiddish. Kirzane’s skillful translation gives English readers long-overdue access to Karpilove’s original and provocative voice.
The Voice and the Void es una monografía sobre la justificación o legitimización de la referencialidad del lenguaje. Se parte de la supuesta falta de legitimidad de la representación lingüística mediante una reflexión sobre casos extremos de irrepresentabilidad--tales como los discursos humorístico, religioso, científico y filosófico--a lo largo de la historia para llegar a la crítica postmoderna y discutir dicha falta de legitimidad aplicando una lógica basada en la doble negación implícita a la legitimación de la referencialidad lingüística.
This saga of bad luck and good company is a wry, scary, heartfelt ode to the traverses we have to make in life when we're at the end of our rope and there's no net below us." —ELLE When Hattie's moody boyfriend dumps her in Paris, she returns home to find that her sister Min is in the psych ward again. Freaked out by the prospect of becoming a surrogate mother to Min's kids, Logan and Thebes, Hattie decides to take them in the family van to find their father, last heard to be running an idiosyncratic art gallery in South Dakota. What ensues is a remarkable journey across America, as aunt and kids—through chaos as diverse as their personalities—discover one another to be both far crazier and far more normal than any of them thought.
Miriam Pawel's fascinating book . . . illuminates the sea change in the nation's politics in the last half of the 20th century."--New York Times Book Review California Book Award Gold Medal Winner * Finalist for the Los Angeles Times Book Prize * A Los Angeles Times Bestseller * San Francisco Chronicle's "Best Books of the Year" List * Publishers Weekly Top Ten History Books for Fall * Berkeleyside Best Books of the Year * Shortlisted for NCIBA Golden Poppy Award A Pulitzer Prize–winning journalist's panoramic history of California and its impact on the nation, from the Gold Rush to Silicon Valley--told through the lens of the family dynasty that led the state for nearly a quarter century. Even in the land of reinvention, the story is exceptional: Pat Brown, the beloved father who presided over California during an era of unmatched expansion; Jerry Brown, the cerebral son who became the youngest governor in modern times--and then returned three decades later as the oldest. In The Browns of California, journalist and scholar Miriam Pawel weaves a narrative history that spans four generations, from August Schuckman, the Prussian immigrant who crossed the Plains in 1852 and settled on a northern California ranch, to his great-grandson Jerry Brown, who reclaimed the family homestead one hundred forty years later. Through the prism of their lives, we gain an essential understanding of California and an appreciation of its importance. The magisterial story is enhanced by dozens of striking photos, many published for the first time. This book gives new insights to those steeped in California history, offers a corrective for those who confuse stereotypes and legend for fact, and opens new vistas for readers familiar with only the sketchiest outlines of a place habitually viewed from afar with a mix of envy and awe, disdain, and fascination.
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