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Fredric Jameson's survey of Structuralism and Russian Formalism is, at the same time, a critique of their basic methodology. He lays bare the presuppositions of the two movements, clarifying the relationship between the synchronic methods of Saussurean linguistics and the realities of time and history.
This book argues that journalism is a more recent invention than most authors have acknowledged so far. The profession of the journalist and the journalistic discourse are the products of the emergence, during the second half of the 19th century, of a specialized field of discursive production, the journalistic field. This book analyses the emergence of journalism and examines the development of discursive norms, practices and strategies that are characteristic of this discourse.
"Written in odd moments under extraordinary pressures and subject to regular interruptions, here is the journal kept by Daniel Berrigan during his eighteen months in Danbury Prison"--Jacket.
""The Big House" is America's idea of the prison - a huge, tough, ostentatiously oppressive pile of rock, bristling with rules and punishments, overwhelming in size and the intent to intimidate. Stephen Cox tells the story of the American prison - its politics, its sex, its violence, its inability to control itself - and its idealization in American popular culture. This book investigates both the popular images of prison and the realities behind them : problems of control and discipline, mainenance and reform, power and sexuality. It conveys an awareness of the limits of human and institutional power, and of the symbolic and iconic qualities the "Big House" has attained in America's understanding of itself"--Jacket.
Margaret Atwood's novels are photographs of her characters' lives: while words only ever describe her protagonists’ blurred visions of their pasts, their 'true' stories are told in subtexts which run parallel or even contrary to the main story line and which depict the unseen, the buried, the 'untrue'. Replete with intertextual references, her fiction illuminates that and why "[w]hat isn’t there has a presence, like the absence of light" (The Blind Assassin). She plays with our conventional modes of perception to make us aware of the way we frame reality in our minds. Andrea Strolz discusses in her book the interrelation between metafictional and intertextual features in two of Atwood's novels that share many similarities, even though written in different decades. She examines how Atwood weaves intertextual references into her fiction, how she facilitates a reader's recognition of the intertexts, and she shows that Atwood's narrator-protagonists also reflect on our age as one of intertextuality.
Every year, hundreds of thousands of jailed Americans leave prison and return to society. Largely uneducated, unskilled, often without family support, and with the stigma of a prison record hanging over them, many if not most will experience serious social and psychological problems after release. Fewer than one in three prisoners receive substance abuse or mental health treatment while incarcerated, and each year fewer and fewer participate in the dwindling number of vocational or educational pre-release programs, leaving many all but unemployable. Not surprisingly, the great majority is rearrested, most within six months of their release. What happens when all those sent down the river come back up--and out? As long as there have been prisons, society has struggled with how best to help prisoners reintegrate once released. But the current situation is unprecedented. As a result of the quadrupling of the American prison population in the last quarter century, the number of returning offenders dwarfs anything in America's history. What happens when a large percentage of inner-city men, mostly Black and Hispanic, are regularly extracted, imprisoned, and then returned a few years later in worse shape and with dimmer prospects than when they committed the crime resulting in their imprisonment? What toll does this constant "churning" exact on a community? And what do these trends portend for public safety? A crisis looms, and the criminal justice and social welfare system is wholly unprepared to confront it. Drawing on dozens of interviews with inmates, former prisoners, and prison officials, Joan Petersilia convincingly shows us how the current system is failing, and failing badly. Unwilling merely to sound the alarm, Petersilia explores the harsh realities of prisoner reentry and offers specific solutions to prepare inmates for release, reduce recidivism, and restore them to full citizenship, while never losing sight of the demands of public safety. As the number of ex-convicts in America continues to grow, their systemic marginalization threatens the very society their imprisonment was meant to protect. America spent the last decade debating who should go to prison and for how long. Now it's time to decide what to do when prisoners come home.
For more than thirty years, Fredric Jameson has been one of the most productive, wide-ranging, and distinctive literary theorists in the United States and the Anglophone world. Marxism and Form provided a pioneering account of the work of the major European Marxist theorists--T. W. Adorno, Walter Benjamin, Herbert Marcuse, Ernst Bloch, Georg Lukács, and Jean-Paul Sartre--work that was, at the time, largely neglected in the English-speaking world. Through penetrating readings of each theorist, Jameson developed a critical mode of engagement that has had tremendous in.uence. He provided a framework for analyzing the connection between art and the historical circumstances of its making--in particular, how cultural artifacts distort, repress, or transform their circumstances through the abstractions of aesthetic form. Jameson's presentation of the critical thought of this Hegelian Marxism provided a stark alternative to the Anglo-American tradition of empiricism and humanism. It would later provide a compelling alternative to poststructuralism and deconstruction as they became dominant methodologies in aesthetic criticism. One year after Marxism and Form, Princeton published Jameson's The Prison-House of Language (1972), which provided a thorough historical and philosophical description of formalism and structuralism. Both books remain central to Jameson's main intellectual legacy: describing and extending a tradition of Western Marxism in cultural theory and literary interpretation.
A masterpiece of linguistics scholarship, at once erudite and entertaining, confronts the thorny question of how—and whether—culture shapes language and language, culture Linguistics has long shied away from claiming any link between a language and the culture of its speakers: too much simplistic (even bigoted) chatter about the romance of Italian and the goose-stepping orderliness of German has made serious thinkers wary of the entire subject. But now, acclaimed linguist Guy Deutscher has dared to reopen the issue. Can culture influence language—and vice versa? Can different languages lead their speakers to different thoughts? Could our experience of the world depend on whether our language has a word for "blue"? Challenging the consensus that the fundaments of language are hard-wired in our genes and thus universal, Deutscher argues that the answer to all these questions is—yes. In thrilling fashion, he takes us from Homer to Darwin, from Yale to the Amazon, from how to name the rainbow to why Russian water—a "she"—becomes a "he" once you dip a tea bag into her, demonstrating that language does in fact reflect culture in ways that are anything but trivial. Audacious, delightful, and field-changing, Through the Language Glass is a classic of intellectual discovery.