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In Defiance of Time explores the emergence of antiquarianism in early modern England, from its first flourishing in the mid-Tudor period through to its seventeenth-century heyday. A vibrant antiquarian culture emerged, which reached beyond scholarly and historical circles, and had a profound influence on the literature and thought of the period. Examining the influences on that development of that culture, this book argues that the origins of English antiquarianism need to be found in the methods and practices of continental (and especially Italian) humanism. It shows that, like the humanists, the early antiquaries had the essentially imaginative aim of resurrecting and recomposing the past and past societies 'in defiance of time'. The antiquaries conceived of themselves and their activities as bridging the gap between past and present, affording 'olden time' presence in this way so that it might speak to and inform present circumstances. At the heart of this book is the argument that the antiquarian project depended on the antiquaries' capacity to restore-in their imagination at least-the fragments of the past, to imagine those remnants of history 'which have casually escaped the shipwrack of time' made whole once again. In Defiance of Time traces these arguments through a range of authors and material, both printed and in manuscript. Chapters advance original readings of important authors such as Leland, Stow, Spenser, Camden, Drayton, and Selden, as well as shedding light on institutions such as the Elizabethan Society of Antiquaries and reviewing the wide range of activities, interests, and concerns that came under the antiquarian purview. Antiquarianism is thereby shown to be integral to early modern literary and intellectual culture.
'In Defiance of Time' contends that the antiquarian project integral to early modern literary & intellectual culture depended on the antiquaries' capacity to restore - in their imagination at least - the fragments of the past. It offers readings of important authors such as Leland, Stow, Spenser Camden, Drayton, & Selden
On August 4, 1940, an unassuming American journalist named Varian Fry made his way to Marseilles, France, carrying in his pockets the names of approximately two hundred artists and intellectuals – all enemies of the new Nazi regime. As a volunteer for the Emergency Rescue Committee, Fry's mission was to help these refugees flee to safety, then return home two weeks later. As more and more people came to him for assistance, however, he realized the situation was far worse than anyone in America had suspected – and his role far greater than he had imagined. He remained in France for over a year, refusing to leave until he was forcibly evicted. At a time when most Americans ignored the World War II atrocities in Europe, Varian Fry engaged in covert operations, putting himself in great danger, to save strangers in a foreign land. He was instrumental in the rescue of over two thousand refugees, including the novelist Heinrich Mann and the artist Marc Chagall.
In a town she personifies, Ouisie Pepper wrestles with her own defiance. Desperate to become the wife and mother her husband Hap demands, Ouisie pours over a simple book about womanhood, constantly falling short, but determined to improve. Through all that self-improvement, Ouisie carries a terrible secret: she knows who killed Daisy Chance. As her children inch closer to uncovering the killer’s identity and Hap’s rages roar louder and become increasingly violent, Ouisie has to make a decision. Will she protect her children by telling her secret? Or will Hap’s violence silence them all? Set on the backdrop of Defiance, Texas, Ouisie’s journey typifies the choices we all face—whether to tell the truth about secrets and fight for the truth or bury them forever and live with the violent consequences.
Writing London and the Thames Estuary is an ambitious study of place and identity which resonates deeply against the troubled politics of contemporaneity. Drawing on a broad range of cultural materials including novels, film, theatre, tourist literature, topography, chorology and sociological writing, Len Platt traces the making of the estuary as margin by a metropolis that has been dependent on this region, sometimes for its very survival. Drawing on writers and artists ranging from Middleton, Defoe, Pepys, Dickens, Conrad and T.S. Eliot through to such contemporary figures as Iain Sinclair, Nicola Barker, Tracy Emin and Billy Childish, Platt offers a fascinating insight into the formation of ‘estuary grotesque’, the social dismissal out of which post-Brexit politics have emerged to such controversy.
This volume offers a counterbalance to the dismissal that Orosius's Histories Against the Pagans has suffered in most recent criticism. Orosius is traditionally considered to be a mediocre scholar and an essentially worthless historian. This book takes his literary endeavour seriously, recognising the unique contribution the Histories made at a crucial moment of debate and uncertainty, where the present was shaped by restructuring the past. The significance of the Histories is recognised intrinsically rather than only in comparison with other texts and authors, principally Augustine of Hippo, Orosius's mentor. The approach of the book is historiographical, exploring the form, purpose and meaning of the Histories. The themes of divine providence, monotheism, and imperial authority are examined, and the subjects of war and the sack of Rome receive extended analysis. The book foregrounds Orosius's significant historiographical innovations that are seldom explored, such as the subversion of imperial history within a Christian spectrum in the synchronisation of the emperor Augustus and Christ. Each chapter contributes to the progression of knowledge about Orosius's Histories and the wider literary and historiographical culture of disruption that characterised the late fourth and early fifth centuries CE.
The Prize Winner of Defiance, Ohio introduces Evelyn Ryan, an enterprising woman who kept poverty at bay with wit, poetry, and perfect prose during the "contest era" of the 1950s and 1960s. Stepping back into a time when fledgling advertising agencies were active partners with consumers, and everyday people saw possibility in every coupon, Terry Ryan tells how her mother kept the family afloat by writing jingles and contest entries. Mom's winning ways defied the Church, her alcoholic husband, and antiquated views of housewives. To her, flouting convention was a small price to pay when it came to securing a happy home for her six sons and four daughters. Evelyn, who would surely be a Madison Avenue executive if she were working today, composed her jingles not in the boardroom, but at the ironing board. By entering contests wherever she found them -- TV, radio, newspapers, direct-mail ads -- Evelyn Ryan was able to win every appliance her family ever owned, not to mention cars, television sets, bicycles, watches, a jukebox, and even trips to New York, Dallas, and Switzerland. But it wasn't just the winning that was miraculous; it was the timing. If a toaster died, one was sure to arrive in the mail from a forgotten contest. Days after the bank called in the second mortgage on the house, a call came from the Dr Pepper company: Evelyn was the grand-prize winner in its national contest -- and had won enough to pay the bank. Graced with a rare appreciation for life's inherent hilarity, Evelyn turned every financial challenge into an opportunity for fun and profit. From her frenetic supermarket shopping spree -- worth $3,000 today -- to her clever entries worthy of Erma Bombeck, Dorothy Parker, and Ogden Nash, the story of this irrepressible woman whose talents reached far beyond her formidable verbal skills is told in The Prize Winner of Defiance, Ohio with an infectious joy that shows how a winning spirit will triumph over the poverty of circumstance.
The invention of collage by Picasso and Braque in 1912 proved to be a dramatic turning point in the development of Cubism and Futurism and ultimately one of the most significant innovations in twentieth-century art. Collage has traditionally been viewed as a new expression of modernism, one allied with modernism's search for purity of means, anti-illusionism, unity, and autonomy of form. This book - the first comprehensive study of collage and its relation to modernism - challenges this view. Christine Poggi argues that collage did not become a new language of modernism but a new language with which to critique modernism. She focuses on the ways Cubist collage - and the Futurist multimedia work that was inspired by it - undermined prevailing notions of material and stylistic unity, subverted the role of the frame and pictorial ground, and brought the languages of high and low culture into a new relationship of exchange.
Jake Wallace does not recognize America anymore. What society once vilified is now glorified as governmental politics change. For years he has watched the mainstream media gloss over domestic and world events with half truths, misinformation, or outright lies. He confides in Cara Jannsen, a friend and co-worker but she is resistant, believing that cant happen here. Can he convince her of the truth without driving her away? One day they witness an unnatural phenomenon that completely mystifies them. Later, Jake notices that no one is reporting on this strange phenomenon and he draws his own conclusion. There is a cover-up. How high does it go? Soon they see people changing. Riots ensue, plunging their town and county into chaos. Suddenly it hits him. The phenomenon is actually a catalyst for something more sinister. Quickly events escalate nationwide, creating even more unrest. As the two become closer, Jake and Cara quickly realize the need to escape the violence but something goes terribly wrong. So, begins their life changing journey of unbelievable highs and devastating lows, taking them across two states in the fight for their lives in a country that they do not recognize, running from a new autocracy in search of freedom, life and love.