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Content Description pt. 1. Invoking political theory. Political theory : from vocation to invocation / Sheldon S. Wolin -- pt. 2. Theorizing loss. Specters and angels at the end of history / Wendy Brown -- The politics of nostalgia and theories of loss / J. Peter Euben -- pt. 3. Thinking in time. Can theorists make time for belief? / Russell Arben Fox -- The history of political thought as a vocation : a pragmatist defense / David Paul Mandell -- pt. 4. The politics of ordinary life. Political theory for losers / Thomas L. Dumm -- Feminism's flight from the ordinary / Linda M.B. Zerilli -- pt. 5. Political knowledge. Conceptions of science in political theory : a tale of cloaks and daggers / Mark B. Brown -- Political theory as a provocation : an ethos of political theory / Lon Troyer -- Gramsci, organic intellectuals, and cultural studies : lessons for political theorists? / Shane Gunster -- pt. 6. Practicing political theory. Reading the body : hobbes, body politics, and the task of political theory / Samantha Frost -- Work, shame, and the chain gang : the new civic education / Jill Locke -- The nobility of democracy / William E. Connolly.
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American silent film comedies were dominated by sight gags, stunts and comic violence. With the advent of sound, comedies in the 1930s were a riot of runaway heiresses and fast-talking screwballs. It was more than a technological pivot--the first feature-length sound film, The Jazz Singer (1927), changed Hollywood. Lost in the discussion of that transition is the overlap between the two genres. Charlie Chaplin, Buster Keaton and Harold Lloyd kept slapstick alive well into the sound era. Screwball directors like Leo McCarey, Frank Capra and Ernst Lubitsch got their starts in silent comedy. From Chaplin's tramp to the witty repartee of His Girl Friday (1940), this book chronicles the rise of silent comedy and its evolution into screwball--two flavors of the same genre--through the works of Mack Sennett, Roscoe Arbuckle, Harry Langdon and others.