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This monograph is an interdisciplinary study of the concept of 'fragment' in literature and in critical and literary theory. It discusses the fragment's performativity and function within a historical perspective, stretching from Heraclitus, via the German Romantics and European writers of the Modernist period, to American postmodern manifestations of the fragment. This is the first history of the fragment to appear in English, and it is also the first attempt at producing a consistent taxonomy of literary and critical fragments. The fragments are categorised according to function, not author intention, and the study addresses a number of questions: What constitutes the fragment, when the fragment can only be defined a posteriori? Does the fragment begin on its own, or is it begun by others, writers and critics? Does it acquire a name of its own, or is it labelled by others? All these questions revolve around issues of agency, and they are best discussed in terms of performativity, which means seeing fragments as acts: acts of literature, acts of reading, acts of writing. The book demonstrates how a poetics of the fragment as a performative genre can be created, situating the fragment both as literature and as a phenomenon within postmodern criticism against the background of philosophy, art history, and theology.
Rather than solid frames, some less than perfect aesthetic objects have permeable membranes which allow them to diffuse effortlessly into the everyday world. In the parallel universes of music and literature, Linda Cummins extols the poetry of such imperfection. She places Debussy's work within a tradition thriving on anti-Aristotelian principles: motley collections, crumbling ruins real or fake, monstrous hybrids, patchwork and palimpsest, hasty sketches, ellipses, truncated beginnings and endings, meandering arabesques, irrelevant digressions, auto-quotations. Sensitive to the intermittences of memory and experience and with a keen ear for ironic intrusion, Cummins draws the reader into the Western cultural past in search of the surprisingly ubiquitous aesthetic of the unfinished, negatively silhouetted against expectations of rational coherence. Theories popularized by Schlegel and embraced by the French Symbolists are only the first waypoint on an elaborately illustrated tour reaching back to Petrarch. Cummins meticulously applies the derived results to Debussy's scores and finds convincing correlations in this chiasmatic crossover.
With the question, "What does it mean to show?", the author explores the agency of display in museums and tourist attractions. She looks at how objects are made to perform their meaning by being collected and how techniques of display, not just the things shown, convey a powerful message.
This is the first study systematically to appraise Splendid's, �Elle�, and Le Bagne, the three plays by Jean Genet published after his death, both in the context of the dramatist's dramatic canon and with respect to one another. After showing that their unusual publishing history necessarily sets these works apart from Haute surveillance, Les Bonnes, Le Balcon, Les N�gres, and Les Paravents, it argues that from Splendid'sto Le Bagne, the question of incompletion is 'exteriorized' -- moving from a purely thematic to an increasingly formal context -- and that the status of each posthumously published work differs: Splendid'sis a 'completed' play, thematizing incompletion; �Elle�, with its seemingly incomplete form having thematic currency, is a 'properly unfinished' play; and as the intentionally 'fragmentary', purposefully suspended 'beginning' of a play, Le Bagneis shaped by incompletion.
Alfred Hitchcock's films have had an impact on scholars of all critical persuasions to the extent that the study of his works is synonymous with the study of 20th century cinema itself. These essays reflect the length and breadth of this scholarship.
There is a rich body of encyclopaedic writing which survives from the two millennia before the Enlightenment. This book sheds new light on that material. It traces the development of traditions of knowledge ordering which stretched back to Pliny and Varro and others in the classical world. It works with a broad concept of encyclopaedism, resisting the idea that there was any clear pre-modern genre of the 'encyclopaedia', and showing instead how the rhetoric and techniques of comprehensive compilation left their mark on a surprising range of texts. In the process it draws attention to both remarkable similarities and striking differences between conventions of encyclopaedic compilation in different periods, with a focus primarily on European/Mediterranean culture. The book covers classical, medieval (including Byzantine and Arabic) and Renaissance culture in turn, and combines chapters which survey whole periods with others focused closely on individual texts as case studies.
The prose poem, Jonathan Monroe asserts, is the genre that does not want to be itself. In his view, the dominant literary historical role of the prose poem has been to test the limits of generic constraints. Monroe here undertakes a comparative and historical investigation of the problematic relationship between prose and poetry and of the development of the prose poem over the past two centuries.
Heretical Hellenism examines sources such as theater history and popular journals to uncover the ways women acquired knowledge of Greek literature, history, and philosophy and challenged traditional humanist assumptions about the uniformity of classical knowledge and about women's place in literary history.
A complete review for the Registry exam, Mosby's Comprehensive Review of Radiography: The Complete Study Guide and Career Planner, 6th Edition covers the five major subject areas of the ARRT exam in radiography. It is also an effective study guide for many radiography courses! Written in outline format, each review of a subject is followed by questions related specifically to that area. Two mock ARRT exams are included in the book, and online exams include a pool of over 1,400 review questions that may be randomly combined to generate a virtually limitless number of mock ARRT exams. From noted radiography educator William J. Callaway, this edition also provides advice on writing resumes and cover letters, interviewing, employer expectations, and continuing education requirements to help you make the transition to a successful career. Review of the five major subject areas covered on the ARRT exam, in an outline format, helps you concentrate on the most important information. Over 2,400 review questions in the book and online offer practice with a multiple-choice format similar to the ARRT exam. Thorough coverage of digital and computed radiography reflects the increased emphasis of these topics on the Registry exam. Online mock exams let you practice in tutorial mode -- with immediate feedback after each question -- or in exam mode, with feedback only after you complete the entire test. Online study tools include study tips for difficult questions and electronic flashcards with formulas, key terms, and important topics. Rationales for correct and incorrect answers are included in the appendix. Career preparation advice includes writing resumes and cover letters, tips for interviewing, a look at what employers expect, career advancement, basic financial planning, and continuing education requirements. Updates reflect the latest ARRT exam changes with expanded coverage of computed and direct radiography, a review of computed tomography along with questions, and an additional 200-question exam in the Review Activities and Challenge Tests chapter. Online access to mock exams. Job search preparation includes tips on how to submit online applications and resumes.