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"Dagonet Abroad" is a fascinating literary paintings by using George R. Sims that takes readers on a fascinating journey packed with humor, wit, and insightful observations. George R. Sims, a prolific Victorian-era writer and journalist, weaves a compelling narrative focused across the character Dagonet. This adventurous protagonist embarks on a journey abroad, imparting readers with a lovely exploration of different cultures and social settings. Sims skillfully blends humor and satire to offer a nuanced statement on society, politics, and human nature. Through Dagonet's stories, the author sheds mild on the quirks and idiosyncrasies of people from numerous backgrounds, infusing the narrative with each leisure and thought-frightening insights. Sims' keen observational capabilities and mastery of language allow him to color shiny scenes that delivery readers to various locales, growing a wealthy tapestry of cultural exploration. "Dagonet Abroad" stands as a testament to George R. Sims' literary prowess, offering a satisfying and idea-scary study that transcends time, providing readers with both leisure and a deeper know-how of the human enjoy. Sims' storytelling prowess and social remark make this painting an undying classic that continues to resonate with audiences interested by the intricacies of society and the human situation.
Kingsley's historical romance of the Spanish Main, first published in 1855. From the coral reefs of the Barbados to the jungles and fabled cities of the Orinoco and on to the great sea battle with the Spanish Armada, this vibrant novel captures the daring spirit of Elizabethan adventurers who sailed with Sir Francis Drake. Contains a table of contents and listing of illustrations.
Twenty years ago, noted film scholars Tom Gunning and André Gaudreault introduced the phrase “cinema of attractions” to describe the essential qualities of films made in the medium’s earliest days, those produced between 1895 and 1906. Now, The Cinema of Attractions Reloaded critically examines the term and its subsequent wide-ranging use in film studies. The collection opens with a history of the term, tracing the collaboration between Gaudreault and Gunning, the genesis of the term in their attempts to explain the spectacular effects of motion that lay at the heart of early cinema, and the pair’s debts to Sergei Eisenstein and others. This reconstruction is followed by a look at applications of the term to more recent film productions, from the works of the Wachowski brothers to virtual reality and video games. With essays by an impressive collection of international film scholars—and featuring contributions by Gunning and Gaudreault as well—The Cinema of Attractions Reloaded will be necessary reading for all scholars of early film and its continuing influence.
The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries.