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Conservative culture in the Romantic period should not be understood merely as an effort to preserve the old regime in Britain against the threat of revolution. Instead, conservative thinkers and writers aimed to transform British culture and society to achieve a stable future in contrast to the destructive upheavals taking place in France. Kevin Gilmartin explores the literary forms of counterrevolutionary expression in Britain, showing that while conservative movements were often inclined to treat print culture as a dangerously unstable and even subversive field, a whole range of print forms - ballads, tales, dialogues, novels, critical reviews - became central tools in the counterrevolutionary campaign. Beginning with the pamphlet campaigns of the loyalist Association movement and the Cheap Repository in the 1790s, Gilmartin analyses the role of periodical reviews and anti-Jacobin fiction in the campaign against revolution, and closes with a fresh account of the conservative careers of Robert Southey and Samuel Taylor Coleridge.
In the late nineteenth through mid-twentieth centuries, the anarchist effort to promote free thought, individual liberty, and social equality relied upon an international Spanish-language print network. These channels for journalism and literature promoted anarchist ideas and practices while fostering transnational solidarity and activism from Buenos Aires to Los Angeles to Barcelona. Christopher J. Castañeda and Montse Feu edit a collection that examines many facets of Spanish-language anarchist history. Arranged chronologically and thematically, the essays investigate anarchist print culture's transatlantic origins; Latina/o labor-oriented anarchism in the United States; the anarchist print presence in locales like Mexico's borderlands and Steubenville, Ohio; the history of essential publications and the individuals behind them; and the circulation of anarchist writing from the Spanish-American War to the twenty-first century.Contributors: Jon Bekken, Christopher Castañeda, Jesse Cohn, Sergio Sánchez Collantes, María José Domínguez, Antonio Herrería Fernández, Montse Feu, Sonia Hernández, Jorell A. Meléndez-Badillo, Javier Navarro Navarro, Michel Otayek, Mario Martín Revellado, Susana Sueiro Seoane, Kirwin R. Shaffer, Alejandro de la Torre, and David Watson
Why you need a writing revolution in your classroom and how to lead it The Writing Revolution (TWR) provides a clear method of instruction that you can use no matter what subject or grade level you teach. The model, also known as The Hochman Method, has demonstrated, over and over, that it can turn weak writers into strong communicators by focusing on specific techniques that match their needs and by providing them with targeted feedback. Insurmountable as the challenges faced by many students may seem, The Writing Revolution can make a dramatic difference. And the method does more than improve writing skills. It also helps: Boost reading comprehension Improve organizational and study skills Enhance speaking abilities Develop analytical capabilities The Writing Revolution is as much a method of teaching content as it is a method of teaching writing. There's no separate writing block and no separate writing curriculum. Instead, teachers of all subjects adapt the TWR strategies and activities to their current curriculum and weave them into their content instruction. But perhaps what's most revolutionary about the TWR method is that it takes the mystery out of learning to write well. It breaks the writing process down into manageable chunks and then has students practice the chunks they need, repeatedly, while also learning content.
This study investigates German and English revolutionary literary discourse between 1819 and 1848/49. Marked by dramatic socioeconomic transformations, this period witnessed a pronounced transnational shift from the concept of political revolution to one of social revolution. Writing the Revolution engages with literary authors, radical journalists, early proletarian pamphleteers, and political theorists, tracing their demands for social liberation, as well as their struggles with the specter of proletarian revolution. The book argues that these ideological battles translated into competing "poetics of revolution." (Series: Kulturgeschichtliche Perspektiven - Vol. 10)
Revolution on My Mind is a stunning revelation of the inner world of Stalin's Russia, showing us the minds and hearts of Soviet citizens who recorded their lives in diaries during an extraordinary period of revolutionary fervor and state terror. Jochen Hellbeck brings us face to face with gripping and unforgettably poignant life stories. This book brilliantly explores the forging of the revolutionary self in a study that speaks to the evolution of the individual in mass movements of our own time.
Addressed to the Inhabitants of America, on the Following Interesting Subjects, viz.: I. Of the Origin and Design of Government in General, with Concise Remarks on the English Constitution. II. Of Monarchy and Hereditary Succession. III. Thoughts on the Present State of American Affairs. IV. Of the Present Ability of America, with some Miscellaneous Reflections
Female loyalists occupied a nearly impossible position during the American Revolution. Unlike their male counterparts, loyalist women were effectively silenced -- unable to officially align themselves with either side or avoid being persecuted for their family ties. In this book, Kacy Dowd Tillman argues that women's letters and journals are the key to recovering these voices, as these private writings were used as vehicles for public engagement. Through a literary analysis of extensive correspondence by statesmen's wives, Quakers, merchants, and spies, Stripped and Script offers a new definition of loyalism that accounts for disaffection, pacifism, neutralism, and loyalism-by-association. Taking up the rhetoric of violation and rape, this archive repeatedly references the real threats rebels posed to female bodies, property, friendships, and families. Through writing, these women defended themselves against violation, in part, by writing about their personal experiences while knowing that the documents themselves may be confiscated, used against them, and circulated.
Contemporary Europe seems to be divided between progressive cosmopolitans sympathetic to the European Union and the ideals of the Enlightenment, and counter-enlightened conservative nationalists extolling the virtues of homelands threatened by globalised elites and mass migration. This study seeks to uncover the roots of historically informed ideas of Europe, while at the same time underlining the fundamental differences between the writings of the older counter-revolutionary Europeanists and their self-appointed successors and detractors in the twenty-first century. In the decades around 1800, the era of the French Revolution, counter-revolutionary authors from all over Europe defended European civilisation against the onslaught of nationalist revolutionaries, bent on the destruction of the existing order, or so they believed. In opposition to the new revolutionary world of universal and abstract principles, the counter-revolutionary publicists proclaimed the concept of a gradually developing European society and political order, founded on a set of historical and - ultimately divine - institutions that had guaranteed Europe's unique freedom, moderation, diversity, and progress since the fall of the Roman Empire. These counter-revolutionary Europeanists drew on the cosmopolitan Enlightenment and simultaneously criticized its alleged revolutionary legacy. Throughout the nineteenth and twentieth centuries, these ideas of European history and civilisation were rediscovered and adapted to new political contexts, shaping in manifold ways our contested idea of European history and memory until today.
From line managers, corporate CEOs, urban designers, teachers, politicians, mayors, advertisers and even our friends and family, the message is 'be creative'. Creativity is heralded as the driving force of our contemporary society; celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this? In this brilliant, counter intuitive blast Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritizes individual success over collective flourishing. It refuses to recognise anything - job, place, person - that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time.