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***Now a film starring Riz Ahmed, James Floyd, Billie Piper, Cush Jumbo, Roshan Seth and Antonio Aakeel*** Meet Tommy Akhtar, Ugandan Asian cricket fan, devoted son, and not very successful private investigator with offices over his brother Gundappa's mini-cab firm in deepest West London. He's just woken up from his hangover (combing the parting on his toungue) when his next case comes through the door. It looks like just another investigation when hooker Melody comes into his office asking him to find her co-worker, Natasha, last seen meeting new client at a bar in Shepherd's Market. But as the search for Natasha intensifies, Tommy's world becomes increasingly sinister. He is drawn into a murder investigation, the criminal underworld, the world of fundamentalist religion and maybe even terrorist activities. Neate brilliantly explores the oddball underbelly and wierd cultural mix of London - The City of Tiny Lights - today and questions just what it really means to be British now. . .
Bachelor Thesis from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Tubingen (Englisches Seminar), language: English, abstract: Firstly, this paper focuses on Farzad and his self as a "contrary geezer". As a first step it is analysed in what respect Farzad can be described as a man living in diaspora. Subsequently, it is shown what special position Uganda acquires in his life. By applying Salman Rushdie's theory of imaginary homelands the paper demonstrates how Farzad uses imagination in order to cross space and time to return to his deceased wife. The means for this return are alcohol and painting. The latter is examined in more detail showing its significance for Farzad's life. Finally, Farzad's obsession for cricket and its implications are interpreted. Secondly, the character of Gundappa is introduced who has quite a peculiar way of dealing with his identity issue. It is shown what massive effect the death of his mother has on him and his self-perception and how this finally leads to the abandonment of his real identity. It is analysed how and why he he starts disguising as someone who he is not and creates several new identities. Thirdly, the paper has a closer look on the main protagonist Tommy. This part starts out with Tommy's time as a terrorist showing how the death of his mother led to a similar but slightly different reaction as the one of his brother Gundappa and how he ends up being a man without an identity. Furthermore, the recurring flashbacks are analysed with special attention to his distanced relationship to this time as a soldier of the Mujahideen. It is depicted in what respect this still influences his life. Next, it is described how he regains and accepts his identity. Applying postcolonial scholar Homi K. Bhaba's theories of 'living in-between' and mimicry to Tommy it is shown how he realises that he will never be regarded as a pure Englishman by society. Instead, he accepts the
Multi-Ethnic Britain 2000+ provides an encompassing survey of artistic responses to the changes in the British cultural climate in the early years of the 21st century. It traces topical reactions to new forms of racism and religious fundamentalism, to legal as well as 'illegal' immigration, and to the threat of global terror; yet it also highlights new forms of intercultural communication and convivial exchange. Framed by contributions from novelists Patrick Neate and Rajeev Balasubramanyam, Multi-Ethnic Britain 2000+ showcases how artistic representations in literature, film, music and the visual arts reflect and respond to social and political discourses, and how they contribute to our understanding of the current (trans)cultural situation in Britain. The contributions in this volume cover a wide range of writers such as Graham Swift, Ian McEwan, Zadie Smith, Jackie Kay, Nadeem Aslam, Gautam Malkani, Nirpal Dhaliwal and Monica Ali; films ranging from Gurinder Chadha's Bend It Like Beckham and Bride and Prejudice to Michael Winterbottom's In This World and Alfonso Cuarón's Children of Men; paintings and photography by innovative black and Asian British Artists; and dubstep music.
This study investigates the overlaps between political discourse and literary and cinematic fiction, arguing that both are informed by, and contribute to, the cultural imaginary of terrorism. Whenever mass-mediated acts of terrorism occur, they tend to trigger a proliferation of threat scenarios not only in the realm of literature and film but also in the statements of policymakers, security experts, and journalists. In the process, the discursive boundary between the factual and the speculative can become difficult to discern. To elucidate this phenomenon, this book proposes that terror is a halfway house between the real and the imaginary. For what characterizes terrorism is less the single act of violence than it is the fact that this act is perceived to be the beginning, or part, of a potential series, and that further acts are expected to occur. As turn-of-the-century writers such as Stevenson and Conrad were the first to point out, this gives terror a fantastical dimension, a fact reinforced by the clandestine nature of both terrorist and counter-terrorist operations. Supported by contextual readings of selected texts and films from The Dynamiter and The Secret Agent through late-Victorian science fiction to post-9/11 novels and cinema, this study explores the complex interplay between actual incidents of political violence, the surrounding discourse, and fictional engagement with the issue to show how terrorism becomes an object of fantasy. Drawing on research from a variety of disciplines, The Cultural Imaginary of Terrorism will be a valuable resource for those with interests in the areas of Literature and Film, Terrorism Studies, Peace and Conflict Studies, Trauma Studies, and Cultural Studies.
Writings on the metropolis generally foreground illimitability, stressing thereby that the urban ultimately remains both illegible and unintelligible. Instead, the purpose of this interdisciplinary study is to demonstrate that mentality as a tool offers orientation in the urban realm. Nora Pleßke develops a model of urban mentality to be employed for cities worldwide. Against the background of the Spatial Turn, she identifies dominant urban-specific structures of London mentality in contemporary London novels, such as Monica Ali's »Brick Lane«, J.G. Ballard's »Millennium People«, Nick Hornby's »A Long Way Down«, and Ian McEwan's »Saturday«.
Opening a dialogue between the literary and filmic works produced in Central Europe and in the Anglophone world, this volume explores the role of affects and emotions such as shame, fascination and withdrawal in contemporary literature and culture.
This book is about the manifestations and explorations of the heroic in narrative literature since around 1800. It traces the most important stages of this representation but also includes strands that have been marginalised or silenced in a dominant masculine and higher-class framework - the studies include explorations of female versions of the heroic, and they consider working-class and ethnic perspectives. The chapters in this volume each focus on a prominent conjuncture of texts, histories and approaches to the heroic. Taken together, they present an overview of the ‘literary heroic’ in fiction since the late eighteenth century.
The miraculous story of Madrid--how a village became a great world city For centuries Madrid was an insignificant settlement on the central Iberian plateau. Under its Muslim rulers the town was fortified and enlarged, but even after the Reconquista it remained secondary to nearby Toledo. But Madrid's fortunes dramatically shifted in the sixteenth century, becoming the centre of a vast global empire. Luke Stegemann tells the surprising story of Madrid's flourishing, and its outsize influence across the world. From Cervantes and Quevedo to Velázquez and Goya, Spain's capital has been home to some of Europe's most influential artists and thinkers. It formed a vital link between Europe and the Americas and became a cauldron of political dissent--not least during the Spanish Civil War, when the city was on the frontline in the fight against fascism. Stegemann places Madrid and its people in global context, showing how the city--fast overtaking Barcelona as a centre of international finance and cultural tourism--has become a melting pot at the heart of Europe and the wider Hispanic world.
Terrorism as a factor of public life has generated far-reaching, and as yet underexplored, questions about narrative and representation. Different textual forms can investigate both the symbolic and the performative character of terroristic acts. Diverse literary traditions, ranging from countries of Eastern and Western Europe to North America and the Middle East, bring their respective historical imaginations to bear on such representations. The essays collected in this volume join together in a transdisciplinary effort to understand the role of narrative practice in all its varieties in approaching the phenomenon of terrorism, whether historical or contemporaneous. (Series: Swiss: Forschung und Wissenschaft - Vol. 7)
The years following the attacks of September 11, 2001 have seen the publication of a wide range of scientific analyses of terrorism. Literary studies seem to lag curiously behind this general shift of academic interest. The present volume sets out to fill this gap. It does so in the conviction that the study of literature has much to offer to the transdisciplinary investigation of terror, not only with respect to the present post-9/11 situation but also with respect to earlier historical contexts. Literary texts are media of cultural self-reflection, and as such they have always played a crucial role in the discursive response to terror, both contributing to and resisting dominant conceptions of the causes, motivations, dynamics, and aftermath of terrorist violence. By bringing together experts from various fields and by combining case studies of works from diverse periods and national literatures, the volume Literature and Terrorism chooses a diachronic and comparative perspective. It is interested in the specific cultural work performed by narrative and dramatic literature in the face of terrorism, focusing on literature's ambivalent relationship to other, competing modes of discourse.