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Author of the only full-length eyewitness account of the 1917 Revolution, Sukhanov was a key figure in the first revolutionary Government. His seven-volume book, first published in 1922, was suppressed under Stalin. This reissue of the abridged version is, as the editor's preface points out, one of the few things written about this most dramatic and momentous event, which actually has the smell of life, and gives us a feeling for the personalities, the emotions, and the play of ideas of the whole revolutionary period." Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.
This book surveys the entire range of crime films, including important subgenres such as the gangster film, the private eye film, film noir, as well as the victim film, the erotic thriller, and the crime comedy. Focusing on ten films that span the range of the twentieth century, Thomas Leitch traces the transformation of the three leading figures that are common to all crime films: the criminal, the victim and the avenger. Analyzing how each of the subgenres establishes oppositions among its ritual antagonists, he shows how the distinctions among them become blurred throughout the course of the century. This blurring, Leitch maintains, reflects and fosters a deep social ambivalence towards crime and criminals, while the criminal, victim and avenger characters effectively map the shifting relations between subgenres, such as the erotic thriller and the police film, within the larger genre of crime film that informs them all.
"Wine and Society: The social and cultural context of a drink examines the cultural forces which have shaped both how wine is made and the way in which it is consumed. It's divided into four parts and illustrated by case studies from around the world."--BOOK JACKET.
Rhetorics, Poetics, and Cultures is James Berlin's most comprehensive effort to refigure the field of English Studies. Here, in his last book, Berlin both historically situates and recovers for today the tools and insights of rhetoric-displaced and marginalized, he argues, by the allegedly disinterested study of aesthetic texts in the college English department. Berlin sees rhetoric as offering a unique perspective on the current disciplinary crisis, complementing the challenging perspectives offered by postmodern literary theory and cultural studies. Taking into account the political and intellectual issues at stake and the relation of these issues to economic and social transformations, Berlin argues for a pedagogy that makes the English studies classroom the center of disciplinary activities, the point at which theory, practice, and democratic politics intersect. This new educational approach, organized around text interpretation and production-not one or the other exclusively, as before-prepares students for work, democratic politics, and consumer culture today by providing a revised conception of both reading and writing as acts of textual interpretation; it also gives students tools to critique the socially constructed, politically charged reality of classroom, college, and culture. This new edition of Rhetorics, Poetics, and Cultures includes JAC response essays by Linda Brodkey, Patricia Harkin, Susan Miller, John Trimbur, and Victor J. Vitanza, as well as an afterword by Janice M. Lauer. These essays situate Berlin's work in personal, pedagogical, and political contexts that highlight the continuing importance of his work for understanding contemporary disciplinary practice.
Set in the 1920's Jazz Age on Long Island, The Great Gatsby chronicles narrator Nick Carraway's interactions with the mysterious millionaire Jay Gatsby and Gatsby's obsession to reunite with his former lover, the beautiful Daisy Buchanan. First published in 1925, the book has enthralled generations of readers and is considered one of the greatest American novels.
Gilberto Perez draws on his lifelong love of the movies as well as his work as a film scholar to write a lively, wide-ranging, penetrating study of films and filmmakers and the nature of the art form.
Years after his death, American filmmaker John Huston (1906-1987) remains an enigmatic and compelling figure. This wide-ranging collection of new essays encompasses a variety of topics relating to Huston's lifestyle, political activities and cinematic legacy. Fresh analyses of such films as Key Largo, The Asphalt Jungle, The African Queen, The Misfits and Prizzi's Honor are included along with insightful studies of Huston's oft-overlooked literary adaptations In This Our Life, Moby Dick and A Walk With Love and Death. Also evaluated are Huston's controversial World War II documentary Let There Be Light, and two a clef portraits of the "real" Huston in the films The Way We Were and White Hunter, Black Heart. Bookending these essays are revealing interviews with John's actress daughter Angelica Huston and film producer Wieland Schultz-Keil.