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Final Supplement to the Environmental Impact Statement for an Amendment to the Pacific Northwest Regional Guide: Appendices
Siskiyou County Library has vol. 1 only.
Life
None
Contemporary Women Writers Look Back
Long before John Barth announced in his famous 1967 essay that late 20th-century fiction was 'The Literature of Exhaustion,' authors have been retelling and recycling stories. Barth was, however, right to identify in postmodern fiction a particular self-consciousness about its belatedness at the end of a long literary tradition. This book traces the move in contemporary women's writing from the self-conscious, ironic parodies of postmodernism to the nostalgic and historical turn of the 21st century. It analyses how contemporary women writers deal with their literary inheritances, offering an illuminating and provocative study of contemporary women writers' re-writings of previous texts and stories. Through close readings of novels by key contemporary women writers including Toni Morrison, Doris Lessing, Margaret Atwood, Zadie Smith, Emma Tennant and Helen Fielding, and of the ITV adaptation, Lost in Austen, Alice Ridout examines the politics of parody and nostalgia, exploring the limitations and possibilities of both in the contexts of feminism and postcolonialism.
Putney
Putney, Vermont owes much to its early farming settlers who established the town's spirit of hard work and ingenuity, and to its mill workers whose labor sustained the town's economy for over 200 years. Agricultural advances, social experiments, and a devout commitment to education and artistry helped this community earn world renown with such institutions as the Putney School, America's first co-ed boarding school; Landmark College, the only U.S. two-year college devoted to students with learning differences; the Yellow Barn, an international music school with a famous annual music festival; and the Experiment in International Living. Putney celebrates its 250th anniversary in 2003, marking a tradition of overcoming internal strife and economic hardship to prosper through innovation and industry.
Handbook of Digital Inequality
This cutting-edge Handbook offers fresh perspectives on the key topics related to the unequal use of digital technologies. Considering the ways in which technologies are employed, variations in conditions under which people use digital media and differences in their digital skills, it unpacks the implications of digital inequality on life outcomes.
The O.C.
The O.C., A Critical Understanding, by Lori Bindig and Andrea M. Bergstrom, is a feminist cultural studies analysis of FOX's hit teen television drama The O.C. (2003-2007). Episodes of The O.C. are analyzed as a set of media texts that blur the boundaries between hegemonic and counter-hegemonic content. This analysis utilizes ancillary media such as director commentary in conjunction with content in order to understand how ideological content, in regards to gender, race, class, sexuality, and consumerism, is presented throughout the show. The O.C. is also examined in terms of audience analysis, auteur theory, aesthetics, and reality television spin-offs. Bindig and Bergstrom place The O.C. in a larger social context and explore the potential ramifications of popular media texts, as well as the series' cultural legacy which continues to resonate in media and culture.
Shakespeare and Digital Performance in Practice
Shakespeare and Digital Performance in Practice explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry. Through close analysis of dozens of productions, both high-profile and lesser known, it examines the rise of live broadcasting and recording in the theatre, the growing use of live video feeds and dynamic projections on the mainstream stage, and experiments in born-digital theatre-making, including social media, virtual reality, and video-conferencing adaptations. In doing so, it argues that technologically adventurous performances of Shakespeare allow performers and audiences to test what they believe theatre to be, as well as to reflect on what it means to be present—with a work of art, with others, with oneself—in an increasingly online world.
