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The Anachronistic Turn: Historical Fiction, Drama, Film and Television is the first study to investigate the ways in which the creative use of anachronism in historical fictions can allow us to rethink the relationship between past and present. Through an examination of literary, cinematic, and popular texts and practices, this book investigates how twenty-first century historical fictions use creative anachronisms as a way of understanding modern issues and anxieties. Drawing together a wide range of texts across all forms of historical fiction - novels, dramas, musicals, films and television - this book re-frames anachronism not as an error, but as a deliberate strategy that emphasises the fictionalising tendencies of all forms of historical writing. The book achieves this by exploring three core themes: the developing trends in the twenty-first century for creators of historical fiction to include deliberate anachronisms, such as contemporary references, music, and language; the ways in which the deliberate use of anachronism in historical fiction can allow us to rethink the relationship between past and present, and; the way that contemporary historical fiction uses anachronism to better understand modern issues and anxieties. This book will appeal to students and scholars of historical fiction, contemporary historical film and television studies, and historical theatre studies.
The book is the first study to investigate the ways in which the creative use of anachronism in historical fictions can allow us to rethink the relationship between past and present.
Survivors of the Black Death face new dangers as they seek safety and freedom in the New York Times–bestselling author’s sequel to The Last Hours. England, Winter, 1348. As the Black Death continues its devastating course across England, the quarantined people of Develish question whether they are the only survivors. Guided by their beloved young mistress, Lady Anne, they wait, knowing that when their dwindling stores are finally gone, they will have to leave the safety of their moated walls. But first, to prepare for the wasteland outside, one courageous man must venture out alone. Thaddeus Thurkell, a free-thinking, educated serf, goes in search of supplies and news. A compelling leader, he and his companions quickly throw off the shackles of serfdom and set their minds to ensuring Develish’s future—and freedom for its people. But what use is freedom that cannot be gained lawfully? When Lady Anne and Thaddeus conceive an audacious plan to secure her people’s independence, neither foresees the life-threatening struggle over power, money and religion that follows . . .
This book explores 500 years of poetry, drama, novels, television and films about Anne Boleyn. Hundreds of writers across the centuries have been drawn to reimagine the story of her rise and fall. The Afterlife of Anne Boleyn tells the story of centuries of these shifting and often contradictory ways of understanding the narrative of Henry VIII’s most infamous queen. Since her execution on 19 May 1536, Anne’s life and body has been a site upon which competing religious, political and sexual ideologies have been inscribed; a practice that continues to this day. From the poetry of Thomas Wyatt to the songs of the hit pop musical Six, The Afterlife of Anne Boleyn takes as its central contention the belief that the mythology that surrounds Anne Boleyn is as interesting, revealing, and surprising as the woman herself.
This book is a study both of anachronism in antiquity and of anachronism as a vehicle for understanding antiquity. It explores the post-classical origins and changing meanings of the term 'anachronism' as well as the presence of anachronism in all its forms in classical literature, criticism and material objects. Contrary to the position taken by many modern philosophers of history, this book argues that classical antiquity had a rich and varied understanding of historical difference, which is reflected in sophisticated notions of anachronism. This central hypothesis is tested by an examination of attitudes to temporal errors in ancient literary texts and chronological writings and by analysing notions of anachronistic survival and multitemporality. Rather than seeing a sense of anachronism as something that separates modernity from antiquity, the book suggests that in both ancient writings and their modern receptions chronological rupture can be used as a way of creating a dialogue between past and present. With a selection of case-studies and theoretical discussions presented in a manner suitable for scholars and students both of classical antiquity and of modern history, anthropology, and visual culture, the book's ambition is to offer a new conceptual map of antiquity through the notion of anachronism.
A new vision is sweeping through ecological science: The dense web of dependencies that makes up an ecosystem has gained an added dimension-the dimension of time. Every field, forest, and park is full of living organisms adapted for relationships with creatures that are now extinct. In a vivid narrative, Connie Barlow shows how the idea of "missing partners" in nature evolved from isolated, curious examples into an idea that is transforming how ecologists understand the entire flora and fauna of the Americas. This fascinating book will enrich and deepen the experience of anyone who enjoys a stroll through the woods or even down an urban sidewalk. But this knowledge has a dark side too: Barlow's "ghost stories" teach us that the ripples of biodiversity loss around us now are just the leading edge of what may well become perilous cascades of extinction.
On Anachronism joins together Shakespeare and Proust as the great writers of love to show that love is always anachronistic, and never more so when it is homosexual. Drawing on Nietzsche, Freud, Heidegger, Derrida, Blanchot and Levinas and Deleuze, difficult but essential theorists of the subject of ‘being and time’ and ‘time and the other’ the book examines why speculation on time has become so crucial within modernity. Through the related term ‘anachorism’, it considers how discussion of time always turns into discussion of space, and how this, too, can never be quite defined. It speculates on chance and thinks of ways in which a quality of difference within time – heterogeneity, anachronicity – is essential to think of what is meant by ‘the other’. The book examines how contemporary theory considers the future and its relation to the past as that which is inescapable in the form of trauma. It considers what is meant by ‘the event’, that which is the theme of all post-Nietzschean theory and which breaks in two conceptions of time as chronological.
This book—along with its companion volume Mary I in Writing: Letters, Literature, and Representations—centers on representations of Queen Mary I in writing, broadly construed, and the process of writing that queen into literature and other textual sources. It spans an equally wide chronological and geographical scope, accounting for the years prior to her accession in July 1553 through the centuries that followed her death in November 1558 and for her reach across England, and into Ireland, Spain, Italy, Russia, and Africa. Its intent is to foreground words and language—written, spoken, and acted out—and, by extension, to draw out matters of and conversations about rhetoric, imagery, methodology, source base, genre, narrative, form, and more. Taken together, these volumes find in England’s first crowned queen regnant an incomparable opportunity to ask new questions and seek new answers that deepen our understanding of queenship, the early modern era, and modern popular culture.
International law’s turn to history in the Americas receives invigorated refreshment with Christopher Rossi’s adaptation of the insightful and inter-disciplinary teachings of the English School and Cambridge contextualists to problems of hemispheric methodology and historiography. Rossi sheds new light on abridgments of history and the propensity to construct and legitimize whiggish understandings of international law based on simplified tropes of liberal and postcolonial treatments of the Monroe Doctrine. Central to his story is the retelling of the Monroe Doctrine by its supreme early twentieth century interlocutor, Elihu Root and other like-minded internationalists. Rossi’s revival of whiggish international law cautions against the contemporary tendency to re-read history with both eyes cast on the ideological present as a justification for misperceived historical sequencing.
This collection brings together artists and theoreticians to provide the first anthology of a new field: Practical Aesthetics. A work of art already contains its own criticism, a knowledge of its own which need not be conceptual or propositional. Yet today, there are many approaches to different forms of art that work on the brink between science and art, 'sensible cognition' and proposition, aesthetic knowledge and rational knowledge, while thinking with art (or the artistic material) rather than about it. This volumes presents ways of thinking with different forms of art (film, sound, dance, literature, etc), as well as new forms of aesthetic research and presentation such as Media Philosophy, the audiovisual essay, fictocriticism, the audio paper, and Artistic Research. It reveals how writing about art can become 'artistic' or 'poetic' in its own right: not only writing about artistic effects, but producing them in the first place. This takes art not as an object of (external) analysis, but as a subject with a knowledge in its own right, creating a co-composing 'conceptual interference pattern' between theory and practice. A 'practical aesthetics' thus understood, can be described as thinking with art, in order to find new ways to create worlds and thus to make the world perceivable in different ways.