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An exploration of the modern European novel from a renowned English literature scholar Reading the Modern European Novel since 1900 is an engaging, in-depth examination of the evolution of the modern European novel. Written in Daniel R. Schwarz's precise and highly readable style, this critical study offers compelling discussions on a wide range of major works since 1900 and examines recurring themes within the context of significant historical events, including both World Wars and the Holocaust. The author cites important developments in the evolution of the modern novel and explores how these paradigmatic works of fiction reflect intellectual and cultural history, including developments in painting and cinema. Schwarz focuses on narrative complexity, thematic subtlety, and formal originality as well as how novels render historical events and cultural developments Discussing major works by Proust, Camus, Mann, Kafka, Grass, di Lampedusa, Bassani, Kertesz, Pamuk, Kundera, Saramago, Muller and Ferrante, Schwarz explores how these often experimental masterworks pay homage to the their major predecessors—discussed in Schwarz's ground-breaking Reading the European Novel to 1900—even while proposing radical departures from realism in their approach to time and space, their testing the limits of language, and their innovative ways of rendering the human psyche. Written for teachers and students by a highly-acclaimed scholar and including valuable study questions, Reading the Modern European Novel since 1900 offers a guide for a deeper understanding of how these original modern masters respond to both the past and present.
Explores British soldiers' violence and restraint towards enemy combatants and civilians in sieges during the Napoleonic era.
Martha Pollak offers a pan-European, richly illustrated study of early modern military urbanism, an international style of urban design.
He demonstrates how these novelists use major and marginal figures to reflect upon the ways that institutional powers invoke episodes from the discovery and conquest to legitimate the present, and also to critique the recent historical past, especially in the case of Uruguay and Argentina, which endured military dictatorships in the 1970s and 1980s."--Jacket.
In recent years, a new market of convergence culture has developed. In this new market, one story, idea, concept, or product can be produced, distributed, appreciated, and understood by customers in a variety of different media. We are at the tipping point of this new convergence culture, and comics is a key area affected by this emerging model. In Comics for Film, Games, and Animation Tyler Weaver teaches you how to integrate comics storytelling into your own work by exploring their past, present, and future. You will explore the creation of the unique mythologies that have endured for more than seventy years, and dig into the nitty gritty of their creation, from pacing and scripting issues to collaboration. Finally, you'll gain a love and appreciation of the medium of comics, so much so that you won't be able to wait to bring that medium into your story toolbox.
Although best known for his plays, William Shakespeare (1564 – 1616) was also a poet who achieved extraordinary depth and variety in only a few key works. This edition of his poetry provides detailed notes, commentary and appendices resulting in an academically thorough and equally accessible edition to Shakespeare’s poetry. The editors present his non-dramatic poems in the chronological order of their print publication: the narrative poems Venus and Adonis and The Rape of Lucrece; the metaphysical ‘Let the Bird of Loudest Lay’ (often known as The Phoenix and the Turtle); all 154 Sonnets and A Lover’s Complaint. In headnotes and extensive annotations to the texts, Cathy Shrank and Raphael Lyne elucidate historical contexts, publication histories, and above all the literary and linguistic features of poems whose subtleties always reward careful attention. Substantial appendices trace the sources for Shakespeare’s narrative poems and the controversial text The Passionate Pilgrim, as well as providing information about poems posthumously attributed to him, and the English sonnet sequence. Shrank and Lyne guide readers of all levels with a glossary of rhetorical terms, an index of the poems (titles and first lines), and an account of Shakespeare’s rhymes informed by scholarship on Elizabethan pronunciation. With all these scholarly resources supporting a newly edited, modern-spelling text, this edition combines accessibility with layers of rich information to inform the most sophisticated reading.
In R. v. Ewanchuk, the Supreme Court of Canada held that sexual touching must be accompanied by express, contemporaneous consent. In doing so, the Court rejected the idea that sexual consent could be "implied." Ewanchuk was a landmark ruling, reflecting a powerful commitment to women's equality and sexual autonomy. In articulating limits on the circumstances under which women can be said to "consent" to sexual touching, however, the decision also restricts their autonomy - specifically, by denying them a voice in determining the norms that should govern their intimate relationships and sexual lives. In Implied Consent and Sexual Assault, Michael Plaxton argues that women should have the autonomy to decide whether, and under what circumstances, sexual touching can be appropriate in the absence of express consent. Though caution should be exercised before resurrecting a limited doctrine of implied consent, there are reasons to think that sexual assault law could accommodate a doctrine without undermining the sexual autonomy or equality rights of women. In reaching this conclusion, Plaxton challenges widespread beliefs about autonomy, consent, and the objectives underpinning the offence of sexual assault in Canada. Drawing upon a range of contemporary criminal law theorists and feminist scholars, Implied Consent and Sexual Assault reconsiders the nature of mutuality in a world dominated by gender norms, the proper scope of criminal law, and the true meaning of sexual autonomy.
It has seemed at times that there is no neutral territory between those who see Bakhtin as the practitioner of a kind of neo-Marxist, or at least materialist, deconstruction and those who look at the same texts and see a defender of traditional, liberal humanist values and classical conceptions of order, a conservative in the true sense of the term. Arising from a conference under the same title held at Texas Tech University, Carnivalizing Difference seeks to explore the actual and possible relationships between Bakhtinian theory and cultural practice. The introduction explores the changing configurations of our understanding of Bakhtin's work in the context of recent theory and outlines how that understanding can inform, and be informed by, culture both ancient and modern. Eleven articles, spanning a wide range of periods and cultural forms, then address these issues in detail, revealing the ways in which Bakhtinian thought illuminates, sometimes obfuscates, but always challenges.
In this stunning reinterpretation of Shakespeare s works, Jonathan Hart explores key topics such as love, lust, time, culture, and history to unlock the Bard s brilliant fictional worlds. From an in-depth look at the private and public myths of love in the narrative poems, through an examination of time in the sonnets, to a discussion of gender in the major history plays, this book offers close readings and new perspectives. Delving into the text and context of a wide range of poems and plays, Hart brings his wealth of experience to bear on Shakespeare s representation of history.
Interested in the ways in which medieval and early modern communities have acted as participants, observers, and interpreters of events and how they ascribed meaning to them, the essays in this interdisciplinary collection explore the concept of beholding and the experiences of individual and collective beholders of violence during the period. Addressing a range of medieval and early modern art forms, including visual images, material objects, literary texts, and performances, the contributors examine the complexities of viewing and the production of knowledge within cultural, political, and theological contexts. In considering new methods to examine the process of beholding violence and the beholder's perspective, this volume addresses such questions as: How does the process of beholding function in different aesthetic conditions? Can we speak of such a thing as the 'period eye' or an acculturated gaze of the viewer? If so, does this particularize the gaze, or does it risk universalizing perception? How do violence and pleasure intersect within the visual and literary arts? How can an understanding of violence in cultural representation serve as means of knowing the past and as means of understanding and potentially altering the present?