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Television can be imagined in a number of ways: as a profuse flow of images, as a machine that produces new social relationships, as the last lingering gasp of Western metaphysical thinking, as a stuttering relay system of almost anonymous messages, as a fantastic construction of time. Richard Dienst engages each of these possibilities as he explores the challenge television has posed for contemporary theories of culture, technology, and media. Five theoretical projects provide Still Life in Real Time with its framework: the cultural studies tradition of Raymond Williams; Marxist political economy; Heideggerian existentialism; Derridean deconstruction; and a Deleuzian anatomy of images. Drawing lessons from television programs like Twin Peaks and Crime Story, television events like the Gulf War, and television personalities like Madonna, Dienst produces a remarkable range of insights on the character of the medium and on the theories that have been affected by it. From the earliest theorists who viewed television as a new metaphor for a global whole, a liberal technology empty of ideological or any other content, through those who saw it as a tool for consumption, making time a commodity, to those who sense television's threat to being and its intimate relation to power, Dienst exposes the rich pattern of television's influence on philosophy, and hence on the deepest levels of contemporary experience. A book of theory, Still Life in Real Time will compel the attention of all those with an interest in the nature of the ever present, ever shifting medium and its role in the thinking that marks our time.
The art of creating and consuming bourbon is exploding. Today you will find craft bourbon distilleries in all 50 states. As mixologists and distillers find the space, market and financial success to fully explore their trade, the world is taking notice. It’s in the middle of this expanding industry that author Carla Carlton takes the time to connect all the dots for you, the bourbon enthusiast. She concisely maps out the seeds of the newest trends and shows why certain classic bourbon brands and bottles have grown while others have been washed away. This special edition e-only book is a wonderful and informative read on its own and is also the perfect chaser to Carlton’s Barrel Strength Bourbon, now out in bookstores and online everywhere.
Across a spectrum of academic disciplines, the topic of globalization is at the forefront of contemporary efforts to understand a dynamically changing world society. How might critical social theory respond creatively to the challenge of thinking and theorizing globalization in its full complexity? Globalizing Critical Theory collects essays by scholars at the forefront of Critical Theory as they confront this timely topic. This book offers readers a chance to see contemporary Critical Theory in its full range—from political analyses of a global public sphere, critical race theory, and the politics of memory, to aesthetics and media studies. It includes crucial new essays by JYrgen on the transformations of the global order in the wake of the American invasion of Iraq, and major interventions by Nancy Fraser, Peter Hohendahl, Andreas Huyssen, James Bohman, and others. Globalizing Critical Theory provides a fascinating exploration of how Critical Theory is confronting the question of globalization—and how globalization is transforming Critical Theory.
"The paintings of Willem van Aelst are known for their remarkably fine finish, carefully balanced compositions and elegant subject matter. Each work featured in this monograph represents a phase of the artist's career"--Nielsen Book Data.
Moving Pictures, Still Lives revisits the cinematic and intellectual atmosphere of the late twentieth century. Against the backdrop of the historical fever of the 1980s and 1990s-the rise of the heritage industry, a global museum-building boom, and a cinematic fascination with costume dramas and literary adaptations-it explores the work of artists and philosophers who complicated the usual association between tradition and the past or modernity and the future. Author James Tweedie retraces the "archaeomodern turn" in films and theory that framed the past as a repository of abandoned but potentially transformative experiments. He examines late twentieth-century filmmakers who were inspired by old media, especially painting, and often viewed those art forms as portals to the modern past. In detailed discussions of Alain Cavalier, Terence Davies, Jean-Luc Godard, Peter Greenaway, Derek Jarman, Agnès Varda, and other key directors, the book concentrates on films that fill the screen with a succession of tableaux vivants, still lifes, illuminated manuscripts, and landscapes. It also considers three key figures-Walter Benjamin, Gilles Deleuze, and Serge Daney-who grappled with the late twentieth century's characteristic concerns, including history, memory, and belatedness. It reframes their theoretical work on film as a mourning play for past revolutions and a means of reviving the possibilities of the modern age (and its paradigmatic medium, cinema) during periods of political and cultural retrenchment. Looking at cinema and the century in the rear-view mirror, the book highlights the unrealized potential visible in the history of film, as well as the cinematic phantoms that remain in the digital age.
A Scottish police inspector deals with forgeries and false identities in a new murder mystery in the “superior series” (The New York Times). When a lobster fisherman discovers a dead body in Scotland’s Firth of Forth, DCI Karen Pirie is called into investigate. She quickly discovers that the case will require untangling a complicated web—involving a long-ago disappearance, art forgery, and secret identities—that seems to surround a painter who can mimic anyone from Holbein to Hockney. Meanwhile, a traffic accident leads to the discovery of a skeleton in a suburban garage. Karen has a full plate, and it only gets more stressful as the man responsible for the death of the love of her life is scheduled for release from prison, reopening old wounds just as she was getting back on her feet. From a Diamond Dagger Award winner and multiple Edgar Award finalist, Still Life is a tightly plotted mystery featuring an investigator “whose unwavering confidence is tempered by a strong dose of kindness and sense of justice” (Booklist). “There are few other crime writers in the same league.”—Maureen Corrigan, The Washington Post
Although Haitian revolutionaries were not the intended audience for the Declaration of the Rights of Man, they heeded its call, demanding rights that were not meant for them. This failure of the French state to address only its desired subjects is an example of the phenomenon James R. Martel labels "misinterpellation." Complicating Althusser's famous theory, Martel explores the ways that such failures hold the potential for radical and anarchist action. In addition to the Haitian Revolution, Martel shows how the revolutionary responses by activists and anticolonial leaders to Woodrow Wilson's Fourteen Points speech and the Arab Spring sprang from misinterpellation. He also takes up misinterpellated subjects in philosophy, film, literature, and nonfiction, analyzing works by Nietzsche, Kafka, Woolf, Fanon, Ellison, Ta-Nehisi Coates, and others to demonstrate how characters who exist on the margins offer a generally unrecognized anarchist form of power and resistance. Timely and broad in scope, The Misinterpellated Subject reveals how calls by authority are inherently vulnerable to radical possibilities, thereby suggesting that all people at all times are filled with revolutionary potential.
Noted urban historian M. Christine Boyer turns to the new frontier - cybercities - in this important and compelling new book. Boyer argues that the computer is to contemporary society what the machine was to modernism, and that this new metaphor profoundly affects the way we think, imagine, and ultimately grasp reality. But there is, she believes, an inherent danger here: that as cyberspace pulls us into its electronic grasp, we withdraw from the world. Transferred, plugged in, and down-loaded, reality becomes increasingly immaterial. Frozen to one side of our terminal's screen, Boyer concludes, we risk becoming incapable of action in a real city plagued by crime, hatred, disease, unemployment, and under-education.
Between 1967 and 2000, film production in Germany underwent a number of significant transformations, including the birth and death of New German Cinema as well as the emergence of a new transnational cinematic practice. In Projecting History, Nora M. Alter explores the relationship between German cinematic practice and the student protests in both East and West Germany against the backdrop of the U.S. war in Vietnam in the sixties, the outbreak of terrorism in West Germany in the seventies, West Germany's rise as a significant global power in the eighties, and German reunification in the nineties. Although a central tendency of New German Cinema in the 1970s was to reduce the nation's history to the product of individuals, the films addressed in Projecting History focus not on individual protagonists, but on complex socioeconomic structures. The films, by Rainer Werner Fassbinder, Harun Farocki, Alexander Kluge, Ulrike Ottinger, Wim Wenders and others, address basic problems of German history, including its overall "peculiarity" within the European context, and, in particular, the specific ways in which the National Socialist legacy continues to haunt Germans. Nora M. Alter is Associate Professor of German, Film and Media Studies, and Women and Gender Studies at the University of Florida. A specialist in twentieth-century film, comparative literature, and cultural studies, Alter has been the recipient of a National Endowment for the Humanities Fellowship and a Howard Foundation Fellowship. She is also the author of Vietnam Protest Theatre: The Television War on Stage.