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This is the companion text to The Tyranny of the Normal: An Anthology. It examines the issues of abnormalities in mental health, intelligence, and sexual behaviour. Both books are comprised of literary and fictional readings and commentary by health care professionals and medical ethicists.
In 1951, just days before her scheduled lobotomy after years in a mental hospital, New Zealand author Janet Frame's first collection of short stories unexpectedly won the Hubert Church Memorial Award, one of the country's most prestigious honors. The procedure was cancelled, and Frame would go on to become one of the seminal authors of contemporary New Zealand literature. During her time at the MacDowell artist's colony in New Hampshire, Frame met painter William Theophilus Brown, and their friendship resulted in a whimsical and artistic correspondence that lasted until Frame's death in 2004. In Brown, Frame found an ideal listener who inspired her to take the art of letter writing to new creative heights; over the course of their correspondence, Frame included character sketches, personal disclosures, invented tales, and over 300 of her own doodles and collages. This compilation of letters and original illustrations has been published nowhere else in the world, including Frame's home country of New Zealand. This moving and enlightening correspondence opens up the hopes, fears, joys, and inner machinations of one of New Zealand's most renowned authors, and offers a side of her dramatic personal history often ignored or misunderstood by the public. The closeness and intimacy of the two artists allows for unfettered wordplay, where Janet is merely "Jay", Bill merely "Bee", and granular, unprocessed creativity is allowed to flow freely; the result is a book that vividly captures the brilliantly unique wit that was Janet Frame.
Metaphors are ubiquitously used in the humanities to bring the tangibility of the concrete world to the elaboration of abstract thought. Drawing on this cognitive function of metaphors, this collection of essays focuses on the evocative figures of the ‘gateway’ and the ‘wall’ to reflect on the state of postcolonial studies. Some chapters – on such topics as maze-making in Canada and the Berlin Wall in the writings of New Zealand authors – foreground the modes of articulation between literal borders and emotional (dis)connections, while others examine how artefacts ranging from personal letters to clothes may be conceptualized as metaphorical ‘gateways’ and ‘walls’ that lead or, conversely, regulate access, to specific forms of cultural expression and knowledge. Following this line of metaphorical thought, postcolonial studies itself may be said to function as either barrier or pathway to further modes of enquiry. This much is suggested by two complementary sets of contributions: on the one hand, those that contend that the canonical centre-periphery paradigm and the related ‘writing back’ model have prevented scholars from recognizing the depth and magnitude of cross-cultural influences between civilizations; on the other, those that argue that the scope of traditional postcolonial models may be fruitfully widened to include territories such as post-imperial Turkey, a geographical and cultural gateway between East and West that features in several of the essays included in this collection. Ultimately, all of the contributions testify to the fact that postcolonial studies is a field whose borders must be constantly redrawn, and whose paradigms need to be continually reshaped and rebuilt to remain relevant in the contemporary world – in other words, the collection’s varied approaches suggest that the discipline itself is permanently ‘under construction’. Readers are, therefore, invited to perform a critical inspection of the postcolonial construction site. CONTRIBUTORS Vera Alexander - Elisabeth Bekers - Devon Campbell–Hall - Simran Chadha - Carmen Concilio - Margaret Daymond - Marta Dvořák - Claudia Duppé - Elena Furlanetto - Gareth Griffiths - John C. Hawley - Sissy Helff - Marie Herbillon - Deepika Marya - Bronwyn Mills - Padmini Mongia - Golnar Nabizadeh - Gerhard Stilz
Beginning in 1981, Richard Hodges supervised the excavation of the Benedictine monastery of San Vincenzo al Volturno, one of the great centers of Dark Age Europe, situated in spectacular mountain country in central Italy. The existence of the monastery had long been known from a twelfth-century illuminated manuscript and the excavations threw vivid light on its epic history. This richly illustrated book tells of the discoveries made by Hodges's team, with the Samnite and Roman origins of the site charted in detail, and the magnificence of the monastery's early medieval period fully elaborated. Built around a modest eighth-century monastery, the ninth-century monastic city was grandiose, remarkable for its architecture and the wealth of its artistic culture. Hodges documents the excavations of the great ninth-century abbey church of San Vincenzo Maggiore, part of the cloisters, the distinguished guests? palace, the workshops, cemeteries, and many smaller buildings. San Vincenzo, with its rich decor and opulent material culture, is revealed as a model Carolingian monastery, a unique monument to the Carolingian Renaissance in Europe. Light in the Dark Ages traces the history of San Vincenzo from the monastery's spectacular rise as a result of Charlemagne's patronage to its cataclysmic sack by Arab marauders in 881, demonstrating the relation between the treasures unearthed and their political context.