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The "world of letters" has always seemed a matter more of metaphor than of global reality. In this book, Pascale Casanova shows us the state of world literature behind the stylistic refinements--a world of letters relatively independent from economic and political realms, and in which language systems, aesthetic orders, and genres struggle for dominance. Rejecting facile talk of globalization, with its suggestion of a happy literary "melting pot," Casanova exposes an emerging regime of inequality in the world of letters, where minor languages and literatures are subject to the invisible but implacable violence of their dominant counterparts. Inspired by the writings of Fernand Braudel and Pierre Bourdieu, this ambitious book develops the first systematic model for understanding the production, circulation, and valuing of literature worldwide. Casanova proposes a baseline from which we might measure the newness and modernity of the world of letters--the literary equivalent of the meridian at Greenwich. She argues for the importance of literary capital and its role in giving value and legitimacy to nations in their incessant struggle for international power. Within her overarching theory, Casanova locates three main periods in the genesis of world literature--Latin, French, and German--and closely examines three towering figures in the world republic of letters--Kafka, Joyce, and Faulkner. Her work provides a rich and surprising view of the political struggles of our modern world--one framed by sites of publication, circulation, translation, and efforts at literary annexation.
This book will tell all you need to know about British English spelling. It's a reference work intended for anyone interested in the English language, especially those who teach it, whatever the age or mother tongue of their students. It will be particularly useful to those wishing to produce well-designed materials for teaching initial literacy via phonics, for teaching English as a foreign or second language, and for teacher training. English spelling is notoriously complicated and difficult to learn; it is correctly described as much less regular and predictable than any other alphabetic orthography. However, there is more regularity in the English spelling system than is generally appreciated. This book provides, for the first time, a thorough account of the whole complex system. It does so by describing how phonemes relate to graphemes and vice versa. It enables searches for particular words, so that one can easily find, not the meanings or pronunciations of words, but the other words with which those with unusual phoneme-grapheme/grapheme-phoneme correspondences keep company. Other unique features of this book include teacher-friendly lists of correspondences and various regularities not described by previous authorities, for example the strong tendency for the letter-name vowel phonemes (the names of the letters ) to be spelt with those single letters in non-final syllables.
This book tells how Baroness Orczy creates the fictitious character of the Scarlet Pimpernel. In this book, Baroness Orczy explores how she creates the character of Scarlet Pimpernel, the other characters, and the story world. The author, in this book, links the creation of the character of the Pimpernel to her love for Britain.
The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part. The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern: ■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals; ■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours; ■ the information to be provided to the public: announcements, posters, advertising, parades; ■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term; ■ sets, lighting, sound, makeup, costumes, props; ■ the relations established between actor and spectator; ■ the means of transport adopted by actors and even by spectators. Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.
"Sergei Eisenstein (1898-1948), creator of such masterpieces as Battleship Potemkin, Alexander Nevsky and Ivan the Terrible, was perhaps the greatest of all film directors. He wrote his autobiography in 1946, two years before his death, and it is a work of major importance in the light it sheds on his personality and mercurial genius. Vivid, eccentric and free-ranging, Immoral Memories is written in a style reminiscent of the brilliant visual effects of montage and dynamic progression that characterize its author's film-making technique. He recounts his life in Russia from the time of the Revolution, during which he served in the Bolshevik army as a volunteer, his travels in the West and his encounters with a remarkable medley of individuals during his long career. He gives us unique insights, too, into his triumphs and tribulations. His disappointments and despair were exemplified by the banning of the film Ivan the Terrible, Part II, which was not released until fifteen years after his death. And he never expected his autobiography to be published in Russia. Yet in answer to his query "Has there been life" he replied that there had been "life lived acutely, joyously, tormentedly, at times even sparkling, unquestionably colourful, and such a life that, I suppose, I would not exchange for another""--Publisher's description.
This is a 1990 collection of interviews and essays by the legendary filmmaker Jean Renoir.
In this engrossing book, Hollis Clayson provides the first description and analysis of French artistic interest in women prostitutes, examining how the subject was treated in the art of the 1870s and 1880s by such avant-garde painters as Cézanne, Degas, Manet, and Renoir, as well as by the academic and low-brow painters who were their contemporaries. Clayson not only illuminates the imagery of prostitution-with its contradictory connotations of disgust and fascination-but also tackles the issues and problems relevant to women and men in a patriarchal society. She discusses the conspicuous sexual commerce during this era and the resulting public panic about the deterioration of social life and civilized mores. She describes the system that evolved out of regulating prostitutes and the subsequent rise of clandestine prostitutes who escaped police regulation and who were condemned both for blurring social boundaries and for spreading sexual licentiousness among their moral and social superiors. Clayson argues that the subject of covert prostitution was especially attractive to vanguard painters because it exemplified the commercialization and the ambiguity of modern life.
Colin Crisp re-evaluates the stylistic evolution of the classic French cinema, and represents the New Wave film-makers as its natural heirs rather than the mould-breakers they perceived themselves to be.
Welcome to the mind, to the world of Fake Steve Jobs. Fake Steve the counterintuitive management guru: "Obviously we can't literally put our employees' lives at risk. But we have to make them feel that way." Fake Steve the political hobnobber: "I can see why they keep Nancy Pelosi under wraps. Wacky as a dime watch." Fake Steve quoting friend/musician/philosopher Bono on road etiquette: "Tink about dat next toim yer cuttin off some bloke and you don't know who it is, right? Could be Jay-sus. Or Boutros Boutros-Ghali or sumfin." And on, yes, himself: "Geniuses have feelings, too." In the tradition of Thank You for Smoking and in the spirit of The Onion, Options is a novelistic sendup and takedown of Silicon Valley, Hollywood, and Washington, D.C., as viewed by a central character who exists, to his immense self-satisfaction, at the crossroads of all three worlds: "It's like in one of those movies where a guy realizes he's got telekinetic powers and it's just too bad if he doesn't want them, he's got them. Likewise, I have this gift. It's who I am."
Ingmar Bergman is worldwide known as a film and stage director. Yet no-one has attempted to compare his stage and screen activities. In Between Stage and Screen Egil Törnqvist examines formal and thematical correspondences and differences between a number of Bergman's stage, screen, and radio productions. In the prologue Bergman's spiritual and aesthetic heritage and his position in the twentieth century media landscape is outlined. In the epilogue the question is answered to what extent one can speak of Bergman's directorial 'method' irrespective of the chosen medium.