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Fed Up
Gemma Hartley wrote an article in Harper's Bazaar in September 2017 called 'Women Aren't Nags - We're Just Fed Up', which instantly went viral. The piece, and this book, are about 'emotional labour', i.e. the unpaid, often unnoticed effort and work that goes into keeping everyone around you comfortable and happy. The Problem That Had No Name tackles the big issues surrounding emotional labour: the historical underpinnings and roots in feminism, the benefits and burdens of this kind of effort, and the specific contexts where emotional labour plays a major but undervalued role, including relationships, work, sex, parenting, politics and self-care.
David Hartley on Human Nature
In this first complete account of Hartley's thought, Richard C. Allen explains Hartley's theories of physiology, perception and action, language and cognition, emotional development and transformation, and spiritual transcendence. By drawing a biographical portrait of its subject, the book explores the relationship of mind and body in Hartley's system, and surveys Hartley's influence upon later scientists and social reformers, particularly Joseph Priestley.
Paddy Hartley
This book presents the work of the artist Paddy Hartley, in particular as it is reflected in Project Facade, 1914FACES2014 and Hartley's Surgical Sculptures and Face Corsets. These projects are all concerned with the face, and with the ways in which it can be repaired, manipulated and recontextualised. Hartley's striking work incorporates surgical and pharmaceutical equipment as well as steel, scrap metal, digital embroidery and textiles in order to set out a critique of how we think about the face today. That critique is rooted in history, particularly the history of the facially injured servicement of the First World War and the pioneering treatment they underwent. Paddy Hartley: of Faces and Facades brings together this work in book form for the first time, presenting previously unpublished texts, drawings and photographs which document a remarkable creative process and a history that is still insufficiently explored. [Fonte: quarta di cop.].
Cold Bath Street
YA Ghost story set in Preston, Lancashire, Great Britain. Terrfiying events occur to 14 year Preston Oldcorn as he is embroiled with the supernatural on his way home one night.
Ben Hartley
Ben Hartley , who died in 1996, was an outstandingly gifted painter who sought nothing but obscurity. But he spent his life making pictures of beautiful, vivid color, humour and a feeling of joy touched with poignancy. He lived a solitary life in Devon, always struggling with poor health and making little effort to show his work. In the 1970s he was introduced to Bernard Samuels, director of Plymouth Art Centre, who set about exhibiting and selling the work, while respecting the artist's wish for privacy. Hartley spent the last years of his life in Presteigne, a small town on the Welsh border with Herefordshire. He died in 1996, leaving a bequest of some 900 gouaches and over 300 notebooks full of beautiful drawings. This is the first monograph on the artist. It covers the brief story of his very simple way of life, devoted to country life and the art of the French post-impressionists, in particular Bonnard and Matisse.
Written in Stone
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Reading Dante and Proust by Analogy
What can Dante tell us about Proust, and what can Proust tell us about Dante? In this book, Hartley follows a process of analogy, reading Dante's Divine Comedy and Proust's À la recherche du temps perdu in light of one another in order to offer new insights into both works. Navigating Dante and Proust's different literary and historical contexts, as well as the rich body of scholarship that their works have generated, Hartley explores in particular their treatments of subjectivity, authorship, and vocation. The book's comparative perspective brings a unique contribution to such debated issues as the universality of Dante's poem, Proust's elevation of art, and the relationship between gender and literary authority. Julia Hartley is a Leverhulme Early Career Fellow in the School of Modern Languages and Cultures, University of Warwick.
The Cinema of Hal Hartley
Featuring new essays on this important director and his films, this collection explores Hartley's work from a variety of aesthetic, cultural, and economic contexts, while also looking closely at his collaborations with actors, his reworking of the romantic comedy and other genres, and the shifting economics of his filmmaking.
Burning Shakespeare
"Part Connie Willis time-travel, part Douglas Adams whimsy, part Julie Schumacher academic satire, with a refreshing touch of Key & Peele, Burning Shakespeare is also a clear-eyed assessment of what we love -- and hate -- about Shakespeare." -- Sujata Iyengar, author of Shades of Difference: Mythologies of Skin Color and Race in Early Modern England and Shakespeare's Medical Language Or, "Funnier than Timon of Athens, sadder than As You Like It, Burning Shakespeare fantasizes a world in which all of Shakespeare's plays come perilously close to joining the library of the lost." Paul Menzer, Dean of the College of Visual and Performing Arts, Mary Baldwin University "If in some parallel univers...
Eustace and Hilda
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