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In The Art of Alibi, Jonathan Grossman reconstructs the relation of the novel to nineteenth-century law courts. During the Romantic era, courthouses and trial scenes frequently found their way into the plots of English novels. As Grossman states, "by the Victorian period, these scenes represented a powerful intersection of narrative form with a complementary and competing structure for storytelling." He argues that the courts, newly fashioned as a site in which to orchestrate voices and reconstruct stories, arose as a cultural presence influencing the shape of the English novel. Weaving examinations of novels such as William Godwin's Caleb Williams, Mary Shelley's Frankenstein, and Charles Dickens's The Pickwick Papers and Oliver Twist, along with a reading of the new Royal Courts of Justice, Grossman charts the exciting changes occurring within the novel, especially crime fiction, that preceded and led to the invention of the detective mystery in the 1840s.
In The Art of Alibi, Jonathan Grossman reconstructs the relation of the novel to nineteenth-century law courts. During the Romantic era, courthouses and trial scenes frequently found their way into the plots of English novels. As Grossman states, "by the Victorian period, these scenes represented a powerful intersection of narrative form with a complementary and competing structure for storytelling." He argues that the courts, newly fashioned as a site in which to orchestrate voices and reconstruct stories, arose as a cultural presence influencing the shape of the English novel. Weaving examinations of novels such as William Godwin's Caleb Williams, Mary Shelley's Frankenstein, and Charles Dickens's The Pickwick Papers and Oliver Twist, along with a reading of the new Royal Courts of Justice, Grossman charts the exciting changes occurring within the novel, especially crime fiction, that preceded and led to the invention of the detective mystery in the 1840s. -- John Sutherland, University College London
How does science transform observations into scientific facts? What is the role of interpretation in the construction of knowledge? How could art re-signify a historical process? Such are some of the questions raised in A for Alibi, a book which explores the boundaries of scientific practice and art. In the last few decades, a new branch of historical studies, called "experimental history" has begun to investigate scientific processes from a particular perspective, derived from a "hands-on" methodology. Scientific instruments are utilized and combined to become a direct source that leads to an understanding not just of scientific history but also of scientific practice. Similar to contemporary art practice, the experimental historical approach implies a combination of theory, practice and process, sharing a wider understanding of practice in the construction of meanings. Along these lines, the Uqbar Foundation invited a group of artists to perform research and develop projects using the impressive collection of historical instruments and optical devices housed in the Utrecht University Museum. Fully illustrated, this book documents the artists' projects as well as the A for Alibi symposium where renowned scientists and art historians lectured on the origins of modern visual culture, for instance on the relation between vision and representation in history, or on the ways in which science builds up a common and social image of the world. The book also features illustrations of numerous scientific instruments from the Utrecht University Museum collection. A for Alibi accompanies the same-titled show at de Appel, Amsterdam, July 14-August 19, 2007. Texts by Charlotte Bigg, Erna Fiorentini, Mika Hannula, Raimundas Malasauskas, Katrin Solhdju Contributions by the participating artists Maria Barnas, James Beckett, Mariana Castillo Deball, Sebastian Diaz Morales, Suchan Kinoshita, Irene Kopelman, Tine Melzer, and Brian O'Connell Interview with Tiemen Cocquyt
Why did premodern authors in the Arabic-Islamic culture compile literary anthologies, and why were these works remarkably popular? How can an anthology that consists of reproduced material be original and creative, and serve various literary and political ends? How did anthologists select their material, then record and arrange it? This book examines the life and works of Abū Manṣūr al-Thaʿālibī (350–429/961–1039), an eminent anthologist from Nīshāpūr, paying special attention to his magnum opus, Yatīmat al-dahr (The Unique Pearl), and its sequel, Tatimmat al-Yatīma (The Completion of the Yatīma). This book is a direct window on to an anthologist’s workshop in the second half of the fourth/tenth century. It examines the methodological consciousness expressed in Thaʿālibī’s selection and arrangement, and his sophisticated system of internal references and cross-references to other works; how he selected from his contemporaries’ oeuvres; how he sought, recorded, memorized, misplaced, and sometimes lost or forgot his selections; how he scrutinized the authenticity of material, accepting, questioning, or rejecting its attribution; and the errors and inconsistencies that resulted from this process.
READ THE SENSATIONAL BLOCKBUSTER THAT STARTED IT ALL! Take it from the top in #1 New York Times bestselling author Sue Grafton's knockout thriller that introduced detective Kinsey Millhone—and a hot new attitude—to crime fiction... A IS FOR AVENGER A tough-talking former cop, private investigator Kinsey Millhone has set up a modest detective agency in a quiet corner of Santa Teresa, California. A twice-divorced loner with few personal possessions and fewer personal attachments, she's got a soft spot for underdogs and lost causes. A IS FOR ACCUSED That's why she draws desperate clients like Nikki Fife. Eight years ago, she was convicted of killing her philandering husband. Now she's out on parole and needs Kinsey's help to find the real killer. But after all this time, clearing Nikki's bad name won't be easy. A IS FOR ALIBI If there's one thing that makes Kinsey Millhone feel alive, it's playing on the edge. When her investigation turns up a second corpse, more suspects, and a new reason to kill, Kinsey discovers that the edge is closer—and sharper—than she imagined. "A" Is for Alibi "B" Is for Burglar "C" Is for Corpse "D" Is for Deadbeat "E" Is for Evidence "F" Is for Fugitive "G" Is for Gumshoe "H" Is for Homicide "I" Is for Innocent "J" Is for Judgment "K" Is for Killer "L" is for Lawless "M" Is for Malice "N" Is for Noose "O" Is for Outlaw "P" Is for Peril "Q" Is for Quarry "R" Is for Ricochet "S" Is for Silence "T" Is for Trespass "U" Is for Undertow "V" Is for Vengeance "W" Is for Wasted "X"
A Boston Globe Best Nonfiction Book of 2011 Celebrated as one of the most poignant stylists of his generation, André Aciman has written a luminous series of linked essays about time, place, identity, and art that show him at his very finest. From beautiful and moving pieces about the memory evoked by the scent of lavender; to meditations on cities like Barcelona, Rome, Paris, and New York; to his sheer ability to unearth life secrets from an ordinary street corner, Alibis reminds the reader that Aciman is a master of the personal essay.
From the bestselling author of Los Alamos and The Good German comes Joseph Kanon's riveting tale of love, revenge and murder set in postwar Venice. Winner of the Hammett Prize It is 1946, and Adam Miller has come to Venice to visit his widowed mother and try to forget the horrors he has witnessed as a U.S. Army war crimes investigator in Germany. But when he falls in love with Claudia, a Jewish woman scarred by her devastating experiences during World War II, he is forced to confront another Venice, a city still at war with itself, haunted by atrocities it would rather forget. Everyone, including his mother's suave new Venetian suitor, has been compromised by the occupation, and Adam finds himself at the center of a web of deception, intrigue, and unexpected moral dilemmas. When is murder acceptable? What are the limits of guilt? How much is someone willing to pay for a perfect alibi?
Key Selling Points New, enhanced features (dyslexia-friendly font, cream paper, larger trim size) to increase reading accessibility for dyslexic and other striving readers.
These twelve dazzling stories from Chimamanda Ngozi Adichie — the Orange Broadband Prize–winning author of Half of a Yellow Sun — are her most intimate works to date. In these stories Adichie turns her penetrating eye to the ties that bind men and women, parents and children, Nigeria and the United States. In “A Private Experience,” a medical student hides from a violent riot with a poor Muslim woman, and the young mother at the centre of “Imitation” finds her comfortable life in Philadelphia threatened when she learns that her husband has moved his mistress into their Lagos home. Searing and profound, suffused with beauty, sorrow and longing, this collection is a resounding confirmation of Adichie’s prodigious literary powers.
William Godwin was one of the most popular novelists of the Romantic era; P.B. Shelley praised him, Byron drew heavily on his narrative style, and Mary Shelley, Godwin’s daughter, dedicated Frankenstein to him. Caleb Williams is the riveting account of a young man whose curiosity leads him to pry into a murder from the past. The first novel of crime and detection in English literature, Caleb Williams is also a powerful exposé of the evils and inequities of the political and social system in 1790s Britain. In addition to the text itself, the editors have included an extensive selection of primary source materials from the period, ranging from Godwin’s original manuscript ending and excerpts from his political writings to contemporary reviews, the political writings of Burke and Paine, and materials on criminals and the English prison system.