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Theorizes shame and analyzes U. S. cultural practices of racializing shame through an examination of scenes of racialization in Latinx literature
In their bold experimentation and bracing engagement with culture and politics, the “New Hollywood” films of the late 1960s and early 1970s are justly celebrated contributions to American cinematic history. Relatively unexplored, however, has been the profound environmental sensibility that characterized movies such as The Wild Bunch, Chinatown, and Nashville. This brisk and engaging study explores how many hallmarks of New Hollywood filmmaking, such as the increased reliance on location shooting and the rejection of American self-mythologizing, made the era such a vividly “grounded” cinematic moment. Synthesizing a range of narrative, aesthetic, and ecocritical theories, it offers a genuinely fresh perspective on one of the most studied periods in film history.
Starting from the same nonfoundationalist premises, Rosenblatt avoids the extreme relativism of postmodern theories derived mainly from Continental sources. A deep understanding of the pragmatism of Dewey, James, and Peirce and of key issues in the social sciences is the basis for a view of language and the reading process that recognizes the potentialities for alternative interpretations and at the same time provides a rationale for the responsible reading of texts.
This book brings together some of Rosenblatt's most important work, essays from the 1930s through the 1990s that explore the breadth and depth of her theory.
American culture has been one of the most controversial exports of the United States: greeted with enthusiasm by some, with hostility by others. Yet, few societies escape its influence. However, not all changes should be interpreted simply as "Americanization." The shaping of the postwar world has been much more complex than this term implies as is shown in this volume that explores the links between Americanization and modernity in Western Europe and Japan. In considering the impact of products and images ranging from movies and music to fashion and architecture, a multi-disciplinary group of contributors asks how American culture has been employed internationally in the articulation of postwar identities - be they national or subnational, socially sanctioned or socially transgressive. Their essays on France, Italy, Germany and Japan move beyond the simple paradigms of colonization and democratic modernization, yet retain a sensitivity to the asymmetries in the postwar power relationships between these countries and the United States. An extensive introduction historically locates changing interpretations of American influences abroad and suggests the problems and promises of "Americanization" as an analytical tool. Its comparative focus and interdisciplinary scope will appeal to a wide range of students and scholars of cold war and post-cold war history.
Given the evolutionary and developmental processes that form a human being, can we plausibly believe that people can make rational and autonomous choices about their lives? How can such choices be non-arbitrary and compelling if there are no norms outside the historical process against which they can be judged? And if that historical process is simply an accidental episode in an indifferent universe, what sorts of meanings can individual lives and choices have?
This book is a comparative study of the development of English, Persian and Arabic literature and their interrelations with specific reference to modernity, nationalism and social value.
“One of the most important contributions to the field of contract theory—if not the most important—in the past 25 years.” —Stephen A. Smith, McGill University Can we account for contract law on a moral basis that is acceptable from the standpoint of liberal justice? To answer this question, Peter Benson develops a theory of contract that is completely independent of—and arguably superior to—long-dominant views, which take contract law to be justified on the basis of economics or promissory morality. Through a detailed analysis of contract principles and doctrines, Benson brings out the specific normative conception underpinning the whole of contract law. Contract, he argues, is best explained as a transfer of rights, which is complete at the moment of agreement and is governed by a definite conception of justice—justice in transactions. Benson’s analysis provides what John Rawls called a public basis of justification, which is as essential to the liberal legitimacy of contract as to any other form of coercive law. The argument of Justice in Transactions is expressly complementary to Rawls’s, presenting an original justification designed specifically for transactions, as distinguished from the background institutions to which Rawls’s own theory applies. The result is a field-defining work offering a comprehensive theory of contract law. Benson shows that contract law is both justified in its own right and fully congruent with other domains—moral, economic, and political—of liberal society.