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This dramatization of Sir Walter Scott's The Surgeon's Daughter tells how an ambitious politician, Richard Darlington, murders his wife to further his political career, becoming the epitome of the saying, "All power corrupts; absolute power corrupts absolutely."
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Conceptualism played a different role in Latin American art during the 1960s and 1970s than in Europe and the United States, where conceptualist artists predominantly sought to challenge the primacy of the art object and art institutions, as well as the commercialization of art. Latin American artists turned to conceptualism as a vehicle for radically questioning the very nature of art itself, as well as art's role in responding to societal needs and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American conceptualism must be viewed and understood in its own right, not as a derivative of Euroamerican models. In this book, one of Latin Am...
Magisterial account of the ideas and the figures who have forged the American Empire Since the birth of the nation, impulses of empire have been close to the heart of the United States. How these urges interact with the way the country understands itself, and the nature of the divergent interests at work in the unfolding of American foreign policy, is a subject much debated and still obscure. In a fresh look at the topic, Anderson charts the intertwined historical development of America’s imperial reach and its role as the general guarantor of capital. The internal tensions that have arisen are traced from the closing stages of the Second World War through the Cold War to the War on Terror. Despite the defeat and elimination of the USSR, the planetary structures for warfare and surveillance have not been retracted but extended. Anderson ends with a survey of the repertoire of US grand strategy, as its leading thinkers—Brzezinski, Mead, Kagan, Fukuyama, Mandelbaum, Ikenberry, Art and others—grapple with the tasks and predicaments of the American imperium today.
A reporter for the Los Angeles Times once noted that “I Love Lucy is said to be on the air somewhere in the world 24 hours a day.” That Lucy’s madcap antics can be watched anywhere at any time is thanks to television syndication, a booming global marketplace that imports and exports TV shows. Programs from different countries are packaged, bought, and sold all over the world, under the watch of an industry that is extraordinarily lucrative for major studios and production companies. In Global TV, Denise D. Bielb and C. Lee Harrington seek to understand the machinery of this marketplace, its origins and history, its inner workings, and its product management. In so doing, they are led t...
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