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A lively narrative history of Hollywood's classical age. Over the last twenty-five years, the field of cinema studies has offered a dramatic reassessment of the history of film in general and of Hollywood in particular. Writers have drawn on the methodologies of a number of disciplines—literary criticism, sociology, psychology, women's studies, and minority and gay studies—to deepen our understanding of motion pictures, the film industry, and movie theater audiences. In Hollywood's High Noon, noted film historian Thomas Cripps offers a lively narrative history of Hollywood's classical age that brings the insights of recent scholarship to students and general readers. From its origin during the First World War to the beginning of its decline in the 1950s, Cripps writes, Hollywood operated as did other American industries: movies were created by a rational production system, regulated by both government and privately organized interests, and subject to the whims of a fickle marketplace. Yet these films did offer consumers something unique: in darkened movie palaces across the country,audiences projected themselves—their hopes and ideas—onto silver screens, profoundly mediating their reception of Hollywood's flickering images. Beginning with turn-of-the-century moving-picture pioneer Thomas Edison, Cripps traces the invention of Hollywood and the development of the studio system. He explores the movie-going experience, the struggle for social control over the movies through censorship, the impact of sound on the style and content of films, alternatives to Hollywood's oligopoly including "race" films and documentaries, the paradoxical predictability and subversive creativity of genre pictures, and Hollywood's self-proclaimed "shining moment" during the Second World War. Cripps concludes with a discussion of the collapse of the studio system after the war, due in equal parts to suburbanization, the emergence of television, and government anti-trust action.
No Other Rome is a poetry collection sparked by a multifarious intertextuality. Love poems, elegies, and meditations draw on Classical, Modern, and contemporary literature, art, architecture and music, to reckon with the rapid move from twentieth-century concerns into an unpredictable present.
Anthology. The Greek origins of the word gesture at a bouquet, a garland; “a flower-logic, a petal-theory, a blossom-word.” In Stone-Garland, Dan Beachy-Quick brings the term back to its roots, linking together the lives and words of six singular ancient Greeks. Simonides: honest servant to patrons. Anacreon: lustful singer, living on in the work of his acolytes. Archilochus: cruel critic, beloved of the Muses. Alcman: who took birds as his teachers. Theognis: chronicler of human excellence and vice. Callimachus: cosmopolitan head librarian at Alexandria. These are the poets who appear in these pages, sometimes in fragments, sometimes in sustained glimpses. Drawing inspiration from the Greek Anthology, first drafted in the first century BC, Beachy-Quick presents translations filled with lovers and children, gods and insects, earth and water, ideas and ideals. Throughout, the line between the ancient and the contemporary blurs, and “the logic of how life should be lived decays wondrously into the more difficult possibilities of what life is.” Spare, earthy, lovely, Stone-Garland offers readers of the Seedbank series its lyric blossoms and subtle weave, a walk through a cemetery that is also a garden.
“A soulful reckoning for our twenty-first century, held in focus through echoes of the past and future, but always firmly rooted in now.” —Yusef Komunyakaa, Pulitzer Prize-winning poet Winner of the Colorado Book Award in Poetry (2018) In this fourth book in a series of award-winning survival narratives, Dungy writes positioned at a fulcrum, bringing a new life into the world even as her elders are passing on. In a time of massive environmental degradation, violence and abuse of power, a world in which we all must survive, these poems resonate within and beyond the scope of the human realms, delicately balancing between conflicting loci of attention. Dwelling between vibrancy and its opposite, Dungy writes in a single poem about a mother, a daughter, Smokin’ Joe Frazier, brittle stars, giant boulders, and a dead blue whale. These poems are written in the face of despair to hold an impossible love and a commitment to hope. A readers companion will be available at wesleyan.edu/wespress/readerscompanions. “Dungy asks how we can survive despair and finds her answers close to the earth.” —Diana Whitney, The Kenyon Review “Trophic Cascade frequently bears witness—to violence, to loss, to environmental degradation—but for Dungy, witnessing entails hope.” —Julie Swarstad Johnson, Harvard Review Online “Tension. Simmering. Beneath her matter-of-fact, easy-going, sit-yourself-down, let-me-tell-it-like-it-is clarifying. And her power we take deadly seriously.” —Matt Sutherland, Foreword Reviews “[Trophic Cascade] asks us, in spite of the pain or difficulty of being human today, to find joy and vibrancy in our experiences.” —Elizabeth Flock, PBS Newshour
The novella was Schmidt's preferred form at the beginning of his writing career, and this volume collects the ten novellas he wrote between "Entymesis" (1949) and "Republica Intelligentsia" (1957). The settings range from ancient Greece to 21st-Century America, but all react to the stifling conservatism and cold prudery of Adenauer Germany. Bursting with intellectual and sexual energies, resuscitating the German language after two decades of Nazi subjugation, these novellas revolutionized German literature in the 1950s and retain their power to shock and delight forty years later. Schmidt has been called a "giant of the modernist tradition, an enormously important talent in the fictional line of cruel comedy that runs from Rabelais through Swift and Joyce" ("New York Review of Books"). This edition of his collected fiction should restore Schmidt to his rightful place at the forefront of 20th-century writing.
A provocative and exhilarating tale of teen rebellion against global corporations from the New York Times bestselling author of Little Brother. Not far in the future... In the twenty-first century, it's not just capital that's globalized: labour is too. Workers in special economic zones are trapped in lives of poverty with no trade unions to represent their rights. But a group of teenagers from across the world are set to fight this injustice using the most surprising of tools - their online video games. In Industrial South China Matthew and his friends labour day and night as gold-farmers, amassing virtual wealth that's sold on to rich Western players, while in the slums of Mumbai 'General Robotwallah' Mala marshalls her team of online thugs on behalf of the local gang-boss, who in turn works for the game-owners. They're all being exploited, as their friend Wei-Dong, all the way over in LA, knows, but can do little about. Until they begin to realize that their similarities outweigh their differences, and agree to work together to claim their rights to fair working conditions. Under the noses of the ruling elites in China and the rest of Asia, they fight their bosses, the owners of the games and rich speculators, outsmarting them all with their gaming skills. But soon the battle will spill over from the virtual world to the real one, leaving Mala, Matthew and even Wei-Dong fighting not just for their rights, but for their lives...
This volume contains Tristan Tzara's famous manifestos, which first appeared between 1916 and 1921 and became essential texts of the modern movement and models for Breton's Surrealist manifestos. Art for Tzara was both deadly serious and a game, and the playfulness of his character is apparent not only in his polemic, which often uses dadaist typography, but in the delightful drawings contributed by Francis Picabia.In addition, this volume also contains Tzara's Lampisteries - articles that throw light on various art forms contemporary with his own work, at a time when art, weary of the old certainties, turned into subjective and often abstract forms, favouring the reality of the mind over that of the senses.
The invisible man is the unnamed narrator of this impassioned novel of black lives in 1940s America. Embittered by a country which treats him as a non-being he retreats to an underground cell.
Represents David Ferry's poetry and his translations of other poems by Holderlin, Goethe, Montale, Catullus, a Babylonian hymn, Ronsard, Guillen, Baudelaire, Rilke, Goliardic, Gilgamesh, the odes of Horace, the eclogues of Virgil, and two epistles of Horace,.