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The Oxford Handbook of American Folklore and Folklife Studies surveys the materials, approaches, concepts, and applications of the field to provide a sweeping guide to American folklore and folklife, culture, history, and society. Forty-three comprehensive and diverse chapters explore the extraordinary richness of the American social and cultural fabric, offering a valuable resource not only for scholars and students of American studies, but also for the global study of tradition, folk arts, and cultural practice.
Explores issues of representation and rebellion in Mexican and Mexican American cinema.
Stuart Chase in the Herald Tribune called this book about capitalism "the most realistic political treatise of the lot" and adds that "one must be tough and pitiless honesty and pitiless humanity." Some people may disagree with the fi rst assertion, but the second cannot be denied, for in this brilliant analysis of our social and economic structure Thurman Arnold pulls no punches. By "the folklore of capitalism" the author means those ideas about our social and political system that are not generally regarded as folklore but popularly and usually erroneously accepted as fundamental principles of law and economics. Th rough his searching scrutiny of this "folklore" about capitalism, Th urman Arnold presents a broad scale analysis of the ways in which America thinks and acts. Arnold is concerned with the manner in which our system actually works rather than with the moral principles that are claimed for it. With this purpose as a basis for his analysis, he exposes the virtues and absurdities, the basic facts and inconsistent gospels of American capitalism. He accomplishes all this with an irony and a sharp lucidity that are rare indeed in the treating of such serious topics.
Kara Keeling contends that cinema and cinematic processes had a profound significance for twentieth-century anticapitalist Black Liberation movements based in the United States. Drawing on Gilles Deleuze’s notion of “the cinematic”—not just as a phenomenon confined to moving-image media such as film and television but as a set of processes involved in the production and reproduction of social reality itself —Keeling describes how the cinematic structures racism, homophobia, and misogyny, and, in the process, denies viewers access to certain images and ways of knowing. She theorizes the black femme as a figure who, even when not explicitly represented within hegemonic cinematic formulations of raced and gendered subjectivities, nonetheless haunts those representations, threatening to disrupt them by making alternative social arrangements visible. Keeling draws on the thought of Frantz Fanon, Angela Davis, Karl Marx, Antonio Gramsci, and others in addition to Deleuze. She pursues the elusive figure of the black femme through Haile Gerima’s film Sankofa, images of women in the Black Panther Party, Pam Grier’s roles in the blaxploitation films of the early 1970s, F. Gary Gray’s film Set It Off, and Kasi Lemmons’s Eve’s Bayou.
Marcia Landy's The Folklore of Consensus examines the theatricality in the Italian popular cinema of the 1930s and early 1940s, arguing that theatricality was a form of politics—a politics of style. While film critics no longer regard the commercial films of the era as mere propaganda, they continue to regard the cinema under fascism as "escapist," diverting audiences from the harsh realities of life under fascism. The Folklore of Consensus problematizes the notion of "escapism," examining the complexity that redeems the films from frivolity and evasion. It shifts the focus from a preoccupation with cinema as the public and spectacular purveyor of "fascinating fascism" to a more immediate and intimate terrain that bears on formulations about the role of mass culture then and now.
Folklore and Literature shows how modern folklore supplements an understanding of the early oral tradition and enhances the knowledge of the early literature. Besides documenting how writers incorporated folklore into their works, this book allows us to understand crucial passages whose learned authors took for granted a familiarity with the oral tradition, thus enabling us to restore those passages to their intended meaning. Studying the vicissitudes of oral transmission in great detail, this is the first book exclusively dedicated to the relationship between folklore and literature in a Luso-Brazilian context, taking into account the pan-Hispanic and other traditions as well. Some of the folkloric passages included are: Puputiriru; Celestina; El idolatra de Maria; Remando Vao Remadores; Barca Bela; Flerida; and Don Duarodos.
Arguing that the tensions between folk metaphysics and Enlightenment values produce the literary fantastic, Jason Marc Harris demonstrates that a negotiation with folklore was central to the canon of British literature. He uncovers the ideological agendas articulated using folkloric elements in works by James Barrie, William Carleton, James Hogg, Sheridan Le Fanu, George MacDonald and Robert Louis Stevenson, among others, and reveals the rhetorical strategies for applying superstition in both folkloric and literary contexts of the supernatural.
This edited volume provides a coherent and comprehensive assessment of Antonio Gramsci's significant contribution to the fields of political and cultural theory. It contains seminal contributions from a broad range of important political and cultural theorists from around the world and explains the origins, development and context for Gramsci's thought as well as analysing his continued relevance and influence to contemporary debates. It demonstrates the multidisciplinary nature of Gramscian thought to produce new insights into the intersection of economic, political, cultural, and social processes, and to create a vital resource for readers across the disciplines of political theory, cultural studies, political economy, philosophy, and subaltern studies.
This book locates the voice in cinema in different national and transnational contexts, to explore how the critical approaches to the voice as well as the practices of sound design, technologies and even reception are often grounded in cultural specificity, to present readings which challenge traditional theories of the voice in film.