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Originally published in 1984, The Clothing of Clio is concerned with the wide variety of ways in which the past was represented in Britain and France in the nineteenth century. This was a period of unprecedented historical-mindedness, in which novelists, poets, painters, collectors, as well as historians, took the past as their subject matter. Dr Bann argues that the concrete vision of the past should be studied across the whole field of representation. He shows that, with the advent of the nineteenth century, there comes into existence a historical poetics - a set of linguistic procedures in the broadest sense employed to communicate and enhance the 'reality' of the past - which can be understood primarily through techniques of rhetorical analysis. This highly original and provocative study will interest a wide range of readers including professional historians and historiographers, as well as any serious reader concerned with the broad cultural issues of nineteenth-century Europe.
Autorka błyskotliwie i jasno rekonstruuje, jak definiowano emocje oraz w jaki sposób umieszczano je w szerszym myśleniu na temat świata i moralności; jakie prezentowano typologie emocji; jak tłumaczono ich pochodzenie; jak opisywano ich związek z rozumem. To wielka praca i wielki wyczyn autorki (...), potrafiła na trzystu stronach swej opowieści przeprowadzić czytelnika po szlakach i bezdrożach myśli Platona i Tukidydesa, Jamesa i Darwina, Hobbesa i Spinozy, pokazując niuanse, paradoksy, konsekwencje ich teorii. Wędrujące pojęcie emocji i jego niepewny związek z sentymentem, afektem, wolą, kaprysem, intelektem – oto właściwy bohater tej książki. (…) Problem postawio...
Going beyond the 'blackness' of black art to examine the integrative and interdisciplinary practices of Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—five contemporary black artists in whose work race plays anything but a defining role. Work by black artists today is almost uniformly understood in terms of its "blackness," with audiences often expecting or requiring it to "represent" the race. In How to See a Work of Art in Total Darkness, Darby English shows how severely such expectations limit the scope of our knowledge about this work and how different it looks when approached on its own terms. Refusing to grant racial blackness—his metaphorical "total darkne...
Examines Gombrowicz's modernist aesthetics in the context of his critique of nationalism, his exploration of queer eroticism, and his interest in hybrid and subaltern identities.
Just before the outbreak of World War II, young Witold Gombrowicz left his home in Poland and set sail for South America. In 1953, still living as an expatriate in Argentina, he began his "Diary" with one of literature's most memorable openings. Gombrowicz's "Diary" grew to become a vast collection of essays, short notes, polemics, and confessions on myriad subjects ranging from political events to literature to the certainty of death. Not a traditional journal, "Diary" is instead the commentary of a brilliant and restless mind. Widely regarded as a masterpiece, this brilliant work compelled Gombrowicz's attention for a decade and a half until he penned his final entry in France, shortly before his death in 1969.
Non c'è autore più insofferente alle convenzioni di Witold Gombrowicz. I suoi racconti, qui raccolti integralmente per la prima volta in Italia, sono una sintesi perfetta della sua satira conturbante, della sua visione grottesca del mondo, delle sue narrazioni paradossali e stridenti, della sua capacità di dare vita a figure irregolari e assurde, in grado di frantumare in pochi istanti le regole su cui poggia la società. Attraverso un linguaggio levigato, in cui rimbalzano giochi di parole e neologismi, Gombrowicz fa sfilare in queste pagine come in una folle parata un antisemita che si scopre figlio di un'ebrea convertita, un marito che disprezza l'avvenente moglie per perdersi dietro a...
Student Politics in Communist Poland tackles the topic of student political activity under a communist regime during the Cold War. It discusses both the communist student organizations as well as oppositional, independent, and apolitical student activism during the forty-five-year period of Poland's existence as a Soviet satellite state. The book focuses on consecutive generations of students who felt compelled to act on behalf of their milieu or for what they saw as the greater national good. The dynamics between moderates and radicals, between conformists and non-conformists are analyzed from the points of view of the protagonists themselves. The book traces ideological evolutions, but als...