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Satyajit, a successful movie director, has accomplished all that there is to achievefame, success, and wealthyet he harbors a sense of discontentment within. While the audience cheers for his brand of cinema and the industry fills its coffers by amassing collections from his films, he, personally, is dejected at the prospect of making yet another of those ostentatious, melodramatic romantic family dramas. His inability to find a balance in his relationships and his core need to live up to his potential makes him search for answers and leads him to a realization that his anguish is a result of the projection of his frustration on those who care about him. When he lays his hands on a script that has the potential to fulfill his hearts desire, he grabs the opportunity with both hands and sets out on a trip to research and unearth more details. During the course of this road trip, he meets different people who not only provide him the necessary answers that would turn his vision into a magnum opus but also provide a deep understanding of the eternal principles of life and, most importantly, the unchanging and universal truth.
Thirteen essays combine classical scholars' interest in theatrical production with a growing interdisciplinary inquiry into the urban contexts of literary production. At once a study of classical Greek literature and an analysis of cultural production, this collection reveals how for two centuries Athens itself was transformed, staged as comedy, and ultimately shaped by contemporary material, social, and ideological forces.
The author has produced a full portrait of Carlyle, the man and his works.
During the nineteenth century, gridding, graphing, and surveying proliferated as never before as nations and empires expanded into hitherto "unknown" territories. Though nominally geared toward justifying territorial claims and collecting scientific data, expeditions also produced vast troves of visual and artistic material. This book considers the explosion of expeditionary mapping and its links to visual culture across the Americas, arguing that acts of measurement are also aesthetic acts. Such visual interventions intersect with new technologies, with sociopolitical power and conflict, and with shifting public tastes and consumption practices. Several key questions shape this examination: What kinds of nineteenth-century visual practices and technologies of seeing do these materials engage? How does scientific knowledge get translated into the visual and disseminated to the public? What are the commonalities and distinctions in mapping strategies between North and South America? How does the constitution of expeditionary lines reorder space and the natural landscape itself? The volume represents the first transnational and hemispheric analysis of nineteenth-century cartographic aesthetics, and features the multi-disciplinary perspective of historians, geographers, and art historians.
Between 1777 and 1816, botanical expeditions crisscrossed the vast Spanish empire in an ambitious project to survey the flora of much of the Americas, the Caribbean, and the Philippines. While these voyages produced written texts and compiled collections of specimens, they dedicated an overwhelming proportion of their resources and energy to the creation of visual materials. European and American naturalists and artists collaborated to manufacture a staggering total of more than 12,000 botanical illustrations. Yet these images have remained largely overlooked—until now. In this lavishly illustrated volume, Daniela Bleichmar gives this archive its due, finding in these botanical images a window into the worlds of Enlightenment science, visual culture, and empire. Through innovative interdisciplinary scholarship that bridges the histories of science, visual culture, and the Hispanic world, Bleichmar uses these images to trace two related histories: the little-known history of scientific expeditions in the Hispanic Enlightenment and the history of visual evidence in both science and administration in the early modern Spanish empire. As Bleichmar shows, in the Spanish empire visual epistemology operated not only in scientific contexts but also as part of an imperial apparatus that had a long-established tradition of deploying visual evidence for administrative purposes.