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Though many archival digital objects were not "born digital," film archives are now becoming important resources for digital scholarship as a consequence of digitization. Moreover, with advancements in digital research methods involving video annotation, visual analysis, and GIS affecting the way we look at archival films' material, stylistic histories and circulation, new research practices are more important than ever. Visualizing Film History is an accessible introduction to archive-based digital scholarship in film and media studies and beyond. With a combined focus on the history of film historiography, archiving, and recent digital scholarship—covering a period from the "first wave" of film archiving in the early 1900s to recent data art—this book proposes ways to work critically with digitized archives and research methods. Christian Olesen encourages a shift towards new critical practices in the field with an in-depth assessment of and critical approach to doing film historiography with the latest digital tools and digitized archives. Olesen argues that if students, scholars and archivists are to fully realize the potential of emerging digital tools and methodologies, they must critically consider the roles that data analysis, visualization, interfaces and procedural human-machinery interactions play in producing knowledge in current film historical research. If we fail to do so, we risk losing our ability to critically navigate and renew contemporary research practices and evaluate the results of digital scholarship.
From Tottel's Miscellany (1557) to the last twentieth-century Oxford Book of English Verse (1999), anthologies have been a prime institution for the preservation and mediation of poetry. The importance of anthologies for creating and re-creating the canon of English poetry, for introducing ‘new' programmes of poetry, as a record of changing poetic fashions, audience tastes and reading practices, or as a profitable literary commodity has often been asserted. Despite its impact, however, the poetry anthology in itself has attracted surprisingly little critical interest in Britain or elsewhere in the English-speaking world. This volume is the first publication to explore the largely unmapped field of poetry anthologies in Britain. Essays written from a wide range of perspectives in literary and cultural studies, and the point of view of poets, editors, publishers and cultural institutions, aim to do justice to the typological, functional and historical variety with which this form of publication has manifested itself - from early modern print culture to the postmodern age of the world wide web.
The legacy of the late André LaCocque is brought to life in this book, each chapter having been written by his beloved friends and former students. His work has so inspired them that each of the contributor chapters moves LaCocque’s work forward in directions of which he surely would have joyfully approved. His great love of Jewish-Christian relations, matters of social justice, feminist biblical scholarship, and interdisciplinary dialogue are carried forward in the enthusiasm and careful work presented here. These offerings in his memory are sure to serve as a jumping-off point for further scholarship in each of these areas of interest and blossom in the years ahead.
What if "liberal democracy" were a contradiction in terms? This book distinguishes liberalism (a logic of order) from democracy (a principle of disordering) to defend a Rancièrean vision of impure politics. Disclosing Rancière's refusal of ontology as political, The Lessons of Rancière enacts a critical theory beyond unmasking and a democratic politics beyond liberalism.