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The Oxford History of World Cinema
Featuring nearly three thousand film stills, production shots, and other illustrations, an authoritative history of the cinema traces the development of the medium, its filmmakers and stars, and the evolution of national cinemas around the world.
The Heir of Redclyffe
The Heir of Redclyffe tells the story of the Byronic Guy Morville, heir to the Redclyffe baronetcy, and his cousin Philip Morville, a conceited hypocrite who enjoys an unwarrantedly high reputation. When Guy raises money to secretly pay off the debts of his blackguard uncle, Philip spreads the rumour that Guy is a reckless gambler. As a result Guy's proposed marriage to his guardian's daughter Amy is called off and he is disowned by his guardian. Guy bears the situation with a new-found Christian fortitude until the uncle clears his character, enabling him to marry Amy after all.
Dominik Lejman
In the late 1990s, Polish artist Dominik Lejman (born 1969) began extending the boundaries of his paintings by combining them with videos. Lejman pays particular attention in his work to architecture and spaces, and to how they influence or determine people's patterns of movement.
(A)Pollonia
Exploring the ethics of historical narratives and national identities, this anthology of Polish plays delves into the trauma of war, anti-Semitism, the Holocaust, and Poland's post-communist reality. The eleven pieces in this anthology of Polish plays dive deep into complex subjects such as Poland's loss since the Holocaust, its difficult postwar relations with Germany, the social metamorphoses since the political upheaval of 1989, and the needs of Polish families and youth since the nation's transition to a free-market economy. Krzysztof Warlikowski's acclaimed production (A)pollonia, which calls upon excerpts from Greek tragedies, novels by Jonathan Littell and J. M. Coetzee, and reportage...
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Reading in Russia
“Reader, where are you?”, wondered, in the mid-1880s, Mikhail Saltykov-Shchedrin, one of the Russian writers that paid the most attention to the readership of his time. Saltykov-Shchedrin’s call did not go unanswered. Over the past two centuries, various disciplines – from the social sciences to psychology, literary criticism, semiotics, historiography and bibliography – alternately tried to outline the specific features of the Russian reader and investigate his function in the history of Russian literary civilization. The essays collected in this volume follow in the tradition but, at the same time, present new challenges to the development of the discipline. The contributors, com...
