This book seeks to understand how Russia’s multifaceted rejection of American unipolarity and de-territorialised neo-liberal capitalism has contributed to the gestation of the present multipolar moment in the global political economy. Analysing Western world order precepts via the actions of a powerful, albeit precarious, national political economy and state structure situated on the periphery of Western world order, Silvius explores the manner in which culture and ideas are mobilised for the purposes of national, regional and international political and economic projects in a post-global age. The book: Explains and analyses the tensions of post-Soviet Russia’s integration into, and simultaneous partial rejection of, the capitalist global political economy. Provides an overview of the social, political and historical origins of Russian samobytnost’ (uniqueness) after the fall of the Soviet Union and demonstrates their significance to contemporary understandings of world order. Explores how structures of cultural difference and practices of cultural differentiation interact with the normative legacies of American hegemonic aspirations in contemporary world order structures. Evaluates how cultural and civilisational representations are mobilised for state-projects and their corresponding regional and international dimensions within the global political economy. This book will be of great interest to students and scholars of Russian Foreign Policy, IPE and comparative political economy.
This book seeks to understand how Russia’s multifaceted rejection of American unipolarity and de-territorialised neo-liberal capitalism has contributed to the gestation of the present multipolar moment in the global political economy. Analysing Western world order precepts via the actions of a powerful, albeit precarious, national political economy and state structure situated on the periphery of Western world order, Silvius explores the manner in which culture and ideas are mobilised for the purposes of national, regional and international political and economic projects in a post-global age. The book: Explains and analyses the tensions of post-Soviet Russia’s integration into, and simultaneous partial rejection of, the capitalist global political economy. Provides an overview of the social, political and historical origins of Russian samobytnost’ (uniqueness) after the fall of the Soviet Union and demonstrates their significance to contemporary understandings of world order. Explores how structures of cultural difference and practices of cultural differentiation interact with the normative legacies of American hegemonic aspirations in contemporary world order structures. Evaluates how cultural and civilisational representations are mobilised for state-projects and their corresponding regional and international dimensions within the global political economy. This book will be of great interest to students and scholars of Russian Foreign Policy, IPE and comparative political economy.
One Of The Pioneering Works In Literary Historiography, The Book A Short History Of English Literature Combines In A Remarkable Manner The Historical And The Critical Principles That Ought To Govern Any Literary History. On Saintbury S Own Testimony The Book Is Not Meant To Be Bird S Eye Views . It Is, In Fact, A Fine Critical Survey Of The Entire History Of English Literature From Its Beginning To The End Of The Victorian Period.Saintsbury S Copious Scholarship, Fine Clarity Of Thought And Literary Sensibility Have Made The Approach To Each Text Both Microscopic And Telescopic So That While A Text Is Kept Under A Sharp Critical Focus, All The Relevant Contextual Aspects Are Touched Upon To Further Illuminate It. Despite Saintsbury S Englishness, The Book, As A Short But Succinct Account Of The History Of Literature, Is Of Perennial Value. While Any Student Of English Literature Will Find The Book Immensely Useful, Anybody Interested In English Literature Will Find It Eminently Readable And Interesting.
Though it may come as a surprise to both cinema lovers and industry professionals who believe that 3-D film was born in the early 1950s, stereoscopic cinema actually began in 1838, more than 100 years before the 3-D boom in Hollywood was created by the release of Arch Oboler's African adventure film, Bwana Devil, filmed in "Natural Vision" 3-D. Stereoscopic Cinema and the Origins of 3-D Film, 1838--1952, is a comprehensive prehistory of the stereoscopic motion picture. In the late nineteenth century, stereoview cards were popular worldwide, and soon filmmakers wanted to capture these "living pictures" with motion, sound, and color. Writing a new chapter in the history of early cinema, Ray Zone not only discusses technological innovation and its cultural context but also examines the aesthetic aspects of stereoscopic cinema in its first century of production.
In With the Wind and the Waves, psychologist Ray M. Droby tells a story of treatment and learning, drawing on experiences ranging from an ocean journey he took on the Bering Sea while serving in a Alaska Native community to his clinical work as a psychologist in rural Alaska. Like negotiating an ocean, Droby moves “with the wind and the waves” while working with substance abuse disorders and mental health issues superimposed on intergenerational trauma and internalized oppression. He captures positive momentum in work aimed at facilitating self-determination with Alaska Natives and their communities while discouraging historical dependency and colonizing patterns of thinking and doing for mental health workers. Sensitive to the history of non-Native outsiders imposing their own culture on Native land, Droby presents here principles, combined with cultural and therapy considerations, that are designed to help people avoid replicating this history of harm. Recognizing the strengths of Alaska Natives and their communities, and the stages of change human individuals and communities undergo, Droby shows how to exercise a nonjudgmental presence as a mental health worker in rural Alaska.
The rise of the brass band in 19th-century Britain is a historical, social and cultural phenomenon which represents the foundation of the modern international brass band movement. Authors such as Trevor Herbert, Arnold Myers and Roy Newsome mention and acknowledge the relevance of the Distin Family brass ensemble; however, extensive research has produced new information. This book examines the various Distin projects as the main reason why brass bands of today are established in their current form.
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