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Epic and Epoch is a collection of essays based on the works of artists such as Homer, Vergil, Statius, Ovid, Dante, among others. The essays in this book are not only based on history, but on various interpretations of a genre. Rhetorical, literary historical, feminist, and cultural are a few of several perspectives represented in this book.
This book focuses on the performance of oral epics and explores the significance of performance features for the interpretation of epic poetry. The leading question of the book is how the socio-cultural context of performance and the various performance elements contribute to the meaning of oral epics. This is a question which not only concerns epics collected from living oral tradition, but which is also of importance for the understanding of the epics of antiquity and the Middle Ages which originated and flourished in an oral milieu. The book is based on fieldwork in the still vibrant oral traditions of the Turkic peoples of Central Asia and Siberia. The discussion combines fieldwork with theory; it is not limited to Turkic epics but branches out into other oral traditions.
The textual heritage of Medieval Latin is one of the greatest reservoirs of human culture. Repertories list more than 16,000 authors from about 20 modern countries. Until now, there has been no introduction to this world in its full geographical extension. Forty contributors fill this gap by adopting a new perspective, making available to specialists (but also to the interested public) new materials and insights. The project presents an overview of Medieval (and post-medieval) Latin Literatures as a global phenomenon including both Europe and extra-European regions. It serves as an introduction to medieval Latin's complex and multi-layered culture, whose attraction has been underestimated until now. Traditional overviews mostly flatten specificities, yet in many countries medieval Latin literature is still studied with reference to the local history. Thus the first section presents 20 regional surveys, including chapters on authors and works of Latin Literature in Eastern, Central and Northern Europe, Africa, the Middle East, Asia, and the Americas. Subsequent chapters highlight shared patterns of circulation, adaptation, and exchange, and underline the appeal of medieval intermediality, as evidenced in manuscripts, maps, scientific treatises and iconotexts, and its performativity in narrations, theatre, sermons and music. The last section deals with literary “interfaces,” that is motifs or characters that exemplify the double-sided or the long-term transformations of medieval Latin mythologemes in vernacular culture, both early modern and modern, such as the legends about King Arthur, Faust, and Hamlet.
Moscow in the 1960s was the other side of the Iron Curtain: mysterious, exotic, even dangerous. In 1966 the historian Sheila Fitzpatrick travelled to Moscow to research in the Soviet archives. This was the era of Brezhnev, of a possible 'thaw' in the Cold War, when the Soviets couldn't decide either to thaw out properly or re-freeze. Moscow, the world capital of socialism, was renowned for its drabness. The buses were overcrowded; there were endemic shortages and endless queues. This was also the age of regular spying scandals and tit-for-tat diplomatic expulsions and it was no surprise that visiting students were subject to intense scrutiny by the KGB. Many of Fitzpatrick's friends were involved in espionage activities – and indeed others were accused of being spies or kept under close surveillance. In this book, Sheila Fitzpatrick provides a unique insight into everyday life in Soviet Moscow. Full of drama and colourful characters, her remarkable memoir highlights the dangers and drudgery faced by Westerners living under communism.
"Belcher's volume contains a much needed and extremely well-integrated overview and discussion of a vast inter-related West African culture complex that deserves and requires the kind of original, insightful treatment it receives here." —David Conrad Epic Traditions of Africa crosses boundaries of language, distance, and time to gather material from diverse African oral epic traditions. Stephen Belcher explores the rich past and poetic force of African epics and places them in historical and social, as well as artistic contexts. Colorful narratives from Central and West African traditions are illuminated along with texts that are more widely available to Western readers—the Mande Sunjata and the Bamana Segou. Belcher also takes up questions about European influences on African epic poetry and the possibility of mutual influence through out the genre. This lively and informative volume will inspire an appreciation for the distinctive qualities of this uniquely African form of verbal art.
A comprehensive guide to European actors in American film, this book brings together 15 chapters with A-Z entries on over 900 individuals. It includes case studies of prominent individuals and phenomena associated with the emigres, such as the stereotyping of European actresses in 'bad women' roles, and the irony of Jewish actors playing Nazis.
Think you know everything there is to know about Hammer Films, the fabled "Studio that Dripped Blood?" The lowdown on all the imperishable classics of horror, like The Curse of Frankenstein, Horror of Dracula and The Devil Rides Out? What about the company's less blood-curdling back catalog? What about the musicals, comedies and travelogues, the fantasies and historical epics--not to mention the pirate adventures? This lavishly illustrated encyclopedia covers every Hammer film and television production in thorough detail, including budgets, shooting schedules, publicity and more, along with all the actors, supporting players, writers, directors, producers, composers and technicians. Packed with quotes, behind-the-scenes anecdotes, credit lists and production specifics, this all-inclusive reference work is the last word on this cherished cinematic institution.
Jan van Toorn is one of the most significant and influential Dutch graphic designers to have emerged since the early 1960s. His designs persistently call attention to their status as visual contrivances, obliging the viewer to make an effort to process their complexities. Van Toorn wants the public to measure the motives of both the client and the designer who mediates the client's message against their own experiences of the world. He hoped in this way to stimulate a more active and skeptical view of art, communication, media ownership and society. Projects such as Van Toorn's posters and catalogues for the Van Abbemuseum in Eindhoven and his long-running series of calendars for the printing firm Mart.Spruijt are powerful demonstrations of graphic design used as a means of commentary and as a tool of critique. Later, as director of the Jan van Eyck Academy, Van Toorn drew together all the strands of his critical practice into a multi-levelled educational initiative that urged designers to think harder about design's role in shaping contemporary reality.