From Benjamin Franklin's drawing of the first American political cartoon in 1754 to contemporary cartoonists' blistering attacks on George W. Bush and initial love-affair with Barack Obama, editorial cartoons have been a part of American journalism and politics. American Political Cartoons chronicles the nation's highs and lows in an extensive collection of cartoons that span the entire history of American political cartooning."Good cartoons hit you primitively and emotionally," said cartoonist Doug Marlette. "A cartoon is a frontal attack, a slam dunk, a cluster bomb." Most cartoonists pride themselves on attacking honestly, if ruthlessly. American Political Cartoons recounts many direct hits, recalling the discomfort of the cartoons' targets?and the delight of their readers.Through skillful combination of pictures and words, cartoonists galvanize public opinion for or against their subjects. In the process they have revealed truths about us and our democratic system that have been both embarrassing and ennobling. Stephen Hess and Sandy Northrop note that not all cartoonists have worn white hats. Many have perpetuated demeaning ethnic stereotypes, slandered honest politicians, and oversimplified complex issues.
For Decadent authors, Romanticism was a source of powerful imaginative revisionism, perversion, transition, and partial negation. But for all these strong Decadent reactions against the period, the cultural phenomenon of Decadence shared with Romanticism a mutual distrust of the philosophy of utilitarianism and the aesthetics of neo-Classicism. Reflecting on the interstices between Romantic and Decadent literature, Decadent Romanticism reassesses the diverse and creative reactions of Decadent authors to Romanticism between 1780 and 1914, while also remaining alert to the prescience of the Romantic imagination to envisage its own distorted, darker, perverted, other self. Creative pairings include William Blake and his Decadent critics, the recurring figure of the sphinx in the work of Thomas De Quincey and Decadent writers, and Percy Shelley with both Mathilde Blind and Swinburne. Not surprisingly, John Keats’s works are a particular focus, in essays that explore Keats’s literary and visual legacies and his resonance for writers who considered him an icon of art for art’s sake. Crucial to this critical reassessment are the shared obsessions of Romanticism and Decadence with subjectivity, isolation, addiction, fragmentation, representation, romance, and voyeurism, as well as a poetics of desire and anxieties over the purpose of aestheticism.
The subject of Romanticism, Memory, and Mourning could not be timelier with Zizek’s recent proclamation that we are ’living in the end times’ and in an era which is preoccupied with the process and consequences of ageing. We mourn both for our pasts and futures as we now recognise that history is a continuation and record of loss. Mark Sandy explores the treatment of grief, loss, and death across a variety of Romantic poetic forms, including the ballad, sonnet, epic, elegy, fragment, romance, and ode in the works of poets as diverse as Smith, Hemans, Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, and Clare. Romantic meditations on grief, however varied in form and content, are self-consciously aware of the complexity and strength of feelings surrounding the consolation or disconsolation that their structures of poetic memory afford those who survive the imaginary and actual dead. Romantic mourning, Sandy shows, finds expression in disparate poetic forms, and how it manifests itself both as the spirit of its age, rooted in precise historical conditions, and as a proleptic power, of lasting transhistorical significance. Romantic meditations on grief and loss speak to our contemporary anxieties about the inevitable, but unthinkable, event of death itself.
The 800-mile California Missions Trail leads walkers and cyclists through some of the most scenic and historic sites of one of America's most beautiful states. The 21 missions, founded 200-250 years ago, are key to understanding California's history and form the spiritual and cultural landmarks of this epic journey that stretches from the North San Francisco Bay Area to San Diego, near the US/Mexico border. The route never strays more than 30 miles from the sunny Pacific Coast, touching famous California beaches at Santa Cruz, Carmel, Santa Barbara, San Clemente and Carlsbad, not to mention metropolitan areas of San Francisco, Los Angeles and San Diego. California's diverse wine regions play a starring role, as does the vast Salinas Valley, the 'Salad Bowl of America'. This guide offers everything you'll need to make your trip of 50-60 walking days or 12-20 cycling days on this epic West Coast adventure. There is a wealth of information to help you prepare for the journey, including packing lists and transport notes. In addition to clear route description, each stage of the route includes scale maps for easy orientation and comprehensive details of facilities available on or near the route. The trail is presented in sections, so it can either be undertaken in its entirety or split as desired, and an accompanying appendix displays distance intervals between towns and cities offering accommodation, in case you should wish to choose your own itinerary. The route can be walked or cycled; for cyclists, around 95% of the trail can be completed on a road bike. From Mission Sonoma to Mission San Diego, you'll follow the journey of 18th-century Spanish missionaries as they created 21 missions to convert the native inhabitants to Christianity. Included is a sensitive recount of the history of the missions, highlighting the story and monuments of the Native Americans who formed the foundation of the landscape, rather than the Spanish and Franciscan priests. From the sunlit sea to swathes of vineyards, to the bustling metropolis of San Francisco, and with historic, spiritual and scenic interest aplenty, the California Missions Trail offers an unforgettable journey through America's Golden State.
Winner of the N. Katherine Hayles Award for Criticism of Electronic Literature from the Electronic Literature Organization There is electronic literature that consists of works, and the authors and communities and practices around such works. This is not a book about that electronic literature. It is not a book that charts histories or genres of this emerging field, not a book setting out methods of reading and understanding. The Internet Unconscious is a book on the poetics of net writing, or more precisely on the subject of writing the net. By 'writing the net', Sandy Baldwin proposes three ways of analysis: 1) an understanding of the net as a loosely linked collocation of inscriptions, of writing practices and materials ranging from fundamental TCP/IP protocols to CAPTCHA and Facebook; 2) as a discursive field that codifies and organizes these practices and materials into text (and into textual practices of reading, archiving, etc.), and into an aesthetic institution of 'electronic literature'; and 3) as a project engaged by a subject, a commitment of the writers' body to the work of the net. The Internet Unconscious describes the poetics of the net's “becoming-literary,” by employing concepts that are both technically-specific and poetically-charged, providing a coherent and persuasive theory. The incorporation and projection of sites and technical protocols produces an uncanny displacement of the writer's body onto diverse part objects, and in turn to an intense and real inhabitation of the net through writing. The fundamental poetic situation of net writing is the phenomenology of “as-if.” Net writing involves construal of the world through the imaginary.
When Sandy Mitchell was arrested for his alleged involvement in two bombings in Saudi Arabia in December 2000, he thought it was a case of mistaken identity and that he would soon be released. Instead, he spent nearly three years in jail, where he was repeatedly tortured before being forced to sign a confession and admit his guilt on Saudi television. Throughout his incarceration the Saudi authorities knew that the attacks had been committed by al-Qaeda militants. Yet they kept Mitchell in jail and refused him access to a lawyer for a year. By this time he had been sentenced to death but he was eventually released before the penalty could be imposed. Saudi Babylon is the story of a shocking miscarriage of justice. But it also reveals an even more disturbing truth: how the British government, mindful of multi-billion-pound arms sales to Saudi Arabia, virtually abandoned Mitchell by adopting a softly-softly diplomatic approach to the corrupt Saudi royal family. Based on diaries and records of meetings with ministers and officials, this is a powerful exposé of how the British government acts when one of its citizens is illegally imprisoned and tortured by a regime with which it does business.
From Benjamin Franklin's drawing of the first American political cartoon in 1754 to contemporary cartoonists' blistering attacks on George W. Bush and initial love-affair with Barack Obama, editorial cartoons have been a part of American journalism and politics. American Political Cartoons chronicles the nation's highs and lows in an extensive collection of cartoons that span the entire history of American political cartooning."Good cartoons hit you primitively and emotionally," said cartoonist Doug Marlette. "A cartoon is a frontal attack, a slam dunk, a cluster bomb." Most cartoonists pride themselves on attacking honestly, if ruthlessly. American Political Cartoons recounts many direct hits, recalling the discomfort of the cartoons' targets?and the delight of their readers.Through skillful combination of pictures and words, cartoonists galvanize public opinion for or against their subjects. In the process they have revealed truths about us and our democratic system that have been both embarrassing and ennobling. Stephen Hess and Sandy Northrop note that not all cartoonists have worn white hats. Many have perpetuated demeaning ethnic stereotypes, slandered honest politicians, and oversimplified complex issues.
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