In Australia, we like em blonde and bronzed. In India, its fair and lovely. So what happens if you are stuck in between? John Green is an Anglo-Indian Australian actor who dreams of being cast in his favourite TV soap, Bondi Parade. The problem is, his coloured contacts cant hide the fact that his skin is more brown than white. Meanwhile, his skin-bleached mum is determined for him to procreate with a blonde, white Aussie woman in order to rid the family of any sign of their ethnic heritage. All hell breaks loose when John falls in love with an Indigenous woman called Sandy. This very funny play by actor (and Bollywood leading-man) Nicholas Brown and comedian Sam McCool tells a universal tale of identity, cultural assimilation and bleaching your bits. (2 acts, 2 male, 4 female).
Norman Beech, depressed and alone, is back on the bottle. Struggling to fight his addiction, the forty-eight-year-old unemployed engineer turns to AA for help. He begins his recovery, unaware that his life is about to be turned upside down, as three strangers make their appearance. Thomas Banks, a diminutive veteran homicide detective, believes that Beech is guilty of murder and has been playing him for the fool; he will stop at nothing to see justice done. Tino Falcone, a good cop and devoted family man, is concerned about his partner, Banks. The hulking former offensive tackle tries to do his job while covering the little man's blindside. Debra Kayly, an attractive thirty-five-year-old blonde, is on the run from authorities. Fearful that her past may catch up with her, she is living on a remote island in Lake Huron. Beech overcomes his difficulties and is riding the wave of success. His future looks bright indeed after he builds his dream house overlooking the Chesapeake Bay. Slowly, almost imperceptibly, things begin to change for the worse. Like a powerful magnet attracting distant iron filings, NORMAN'S COMFORT begins to draw in its victims with tragic consequences.
Utopian Generations develops a powerful interpretive matrix for understanding world literature--one that renders modernism and postcolonial African literature comprehensible in a single framework, within which neither will ever look the same. African literature has commonly been seen as representationally naïve vis-à-vis modernism, and canonical modernism as reactionary vis-à-vis postcolonial literature. What brings these two bodies of work together, argues Nicholas Brown, is their disposition toward Utopia or "the horizon of a radical reconfiguration of social relations.? Grounded in a profound rethinking of the Hegelian Marxist tradition, this fluently written book takes as its point of departure the partial displacement during the twentieth century of capitalism's "internal limit" (classically conceived as the conflict between labor and capital) onto a geographic division of labor and wealth. Dispensing with whole genres of commonplace contemporary pieties, Brown examines works from both sides of this division to create a dialectical mapping of different modes of Utopian aesthetic practice. The theory of world literature developed in the introduction grounds the subtle and powerful readings at the heart of the book--focusing on works by James Joyce, Cheikh Hamidou Kane, Ford Madox Ford, Chinua Achebe, Wyndham Lewis, Ngugi wa Thiong'o, and Pepetela. A final chapter, arguing that this literary dialectic has reached a point of exhaustion, suggests that a radically reconceived notion of musical practice may be required to discern the Utopian desire immanent in the products of contemporary culture.
In Autonomy Nicholas Brown theorizes the historical and theoretical argument for art's autonomy from its acknowledged character as a commodity. Refusing the position that the distinction between art and the commodity has collapsed, Brown demonstrates how art can, in confronting its material determinations, suspend the logic of capital by demanding interpretive attention. He applies his readings of Marx, Hegel, Adorno, and Jameson to a range of literature, photography, music, television, and sculpture, from Cindy Sherman's photography and the novels of Ben Lerner and Jennifer Egan to The Wire and the music of the White Stripes. He demonstrates that through their attention and commitment to form, such artists turn aside the determination posed by the demand of the market, thereby defeating the foreclosure of meaning entailed in commodification. In so doing, he offers a new theory of art that prompts a rethinking of the relationship between art, critical theory, and capitalism.
The name Black Hawk permeates the built environment in the upper Midwestern United States. It has been appropriated for everything from fitness clubs to used car dealerships. Makataimeshekiakiak, the Sauk Indian war leader whose name loosely translates to "Black Hawk," surrendered in 1832 after hundreds of his fellow tribal members were slaughtered at the Bad Axe Massacre. Re-Collecting Black Hawk examines the phenomena of this appropriation in the physical landscape, and the deeply rooted sentiments it evokes among Native Americans and descendants of European settlers. Nearly 170 original photographs are presented and juxtaposed with texts that reveal and complicate the significance of the imagery. Contributors include tribal officials, scholars, activists, and others, such as George Thurman, the principal chief of the Sac and Fox Nation and a direct descendant of Black Hawk. These image-text encounters offer visions of both the past and present and the shaping of memory through landscapes that reach beyond their material presence into spaces of cultural and political power. As we witness, the evocation of Black Hawk serves as a painful reminder, a forced deference, and a veiled attempt to wipe away the guilt of past atrocities. Re-Collecting Black Hawk also points toward the future. By simultaneously unsettling and reconstructing the Midwestern landscape, Re-Collecting Black Hawk envisions new modes of pea
Utopian Generations develops a powerful interpretive matrix for understanding world literature - one that renders modernism and postcolonial Africian literature comprehensible in a single framework. Grounded in profound rethinking of the Hegelian Marxist tradition, this fluently written book takes as its point of departure the partial displacement during the twentieth century of capitalism's "internal limit" onto a geographic division of labour and wealth.
The Brown Sisters presents a photographic project as compelling in effect as it is simple in conception: four women, 25 years. Each year since 1975 photographer Nicholas Nixon (b. 1947) has made a group portrait of his wife and her three sisters facing the camera in the same order. The series now measures a quarter century in the lives of the sisters, who in 1975 ranged in age from 15 to 25. Each picture is dense with allusion to the year of experience that separates it from the one before.Nixon is one of the leading American photographers of his generation. In the 1970s he helped revive the view camera -- the old-fashioned box on tripod. He made his mark, however, with the more spontaneous hand-camera, creating portraits that are at once frank, tender, unsentimental, and moving.
This dictionary contains 10,000 Russian words in order of importance starting with the most common and finishing with words that occur about 8 times in a million. All the words have English translations, many have examples of usage and the entries include information on stress and grammatical irregularities. There is also a complete alphabetical index to the words in the list. A learner who knows all or most of these 10,000 words can be regarded as competent in Russian for all normal purposes. The list takes you from a beginner's core vocabulary through to postgraduate level.
“The wide range of subjects . . . provides a glimpse of the extent to which Bourdieu’s theories of culture have gained widespread currency in the humanities.” —David Eick, SubStance The work of Pierre Bourdieu, one of the most influential French intellectuals of the twentieth century, has had an enormous impact on research in fields as diverse as aesthetics, education, anthropology, and sociology. Pierre Bourdieu: Fieldwork in Culture is the first collection of essays to focus specifically on the contribution of Bourdieu’s thought to the study of cultural production. Though Bourdieu’s own work has illuminated diverse cultural phenomena, the essays in this volume extend to new cultural forms and to national situations outside France. Far from simply applying Bourdieu’s concepts and theoretical tools to these new contexts, the essays in this volume consider both the possibility and limits of Bourdieu’s sociology for the study of culture. “Worth the attention of those who seek to become familiar with Bourdieu or to engage with a more well-rounded familiarity with the usefulness of his social theory.” —Christopher Lindsay Turner, MFS Modern Fiction Studies “This sparkling and unusually coherent collection of essays emphasizes the American reception and adaptation of Bourdieu’s work. It shows how Bourdieu has been resisted and embraced and discusses how his terms and methods might be both used and modified by American academics. Theoretical reflections are productively complemented by empirical investigations of non-canonical and popular artistic expressions and by discussions of the position of women in Bourdieu’s thought.” —Marshall Brown, University of Washington
The nature of the kingdom Jesus proclaims in the Gospels has long been a subject of intense theological debate. More recently the lines of this debate have dramatically shifted as several leading historical Jesus scholars and Christian social ethicists have argued that Jesus' kingdom proclamation most likely expresses a first century Jewish hope for Israel's restoration. Yet while several are now sanguine that Jesus' kingdom vision constitutes nothing less than a full-throated restoration of Israel's nationality, they are just as certain it rejects a restoration of Israel's land. As such it has become increasingly fashionable to say that an authentic practice of the "kingdom" ethic that Jesus enunciates must necessarily be a-territorial. The purpose of this work is to respond to these arguments and show why this can and indeed should not be the case. Through a careful and detailed process of historical investigation, biblical exegesis, theological exploration, and ethical analysis we will come to see that not only is the kingdom that Jesus proclaims inextricably landed, but also why such a kingdom is integral to articulating a Christian ethic of territorial governance.
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