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Violence and Masculinity in Hollywood War Films During World War II a Thesis Submitted To
Violence and Masculinity in Hollywood War Films During World War II A thesis submitted to: Lakehead University Faculty of Arts and Sciences Department of History In partial fulfillment of the requirements for the degree in Master of Arts Matthew Sitter Thunder Bay, Ontario July 2012 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-84504-2 Our file Notre référence ISBN: 978-0-494-84504-2 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Genocide, Memory and History
AFTERMATH GENOCIDE, MEMORY AND HISTORY EDITED BY KAREN AUERBACH AFTERMATH AFTERMATH GENOCIDE, MEMORY AND HISTORY EDITED BY KAREN AUERBACH Aftermath: Genocide, Memory and History © Copyright 2015 Copyright of the individual chapters is held by the chapter’s author/s. Copyright of this edited collection is held by Karen Auerbach. All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria, 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/agmh-9781922235633.html Design: Les Thomas ISBN: 978-1-922235-63-3 (paperback) ISBN: 978-1-922235-64-0 (PDF) ISBN: 978-1-876924-84-3 (epub) National Library of Australia Cataloguing-in-Publication entry: Title: Aftermath : genocide, memory and history / editor Karen Auerbach ISBN 9781922235633 (paperback) Series: History Subjects: Genocide. Genocide--Political aspects. Collective memory--Political aspects. Memorialization--Political aspects. Other Creators/Contributors: Auerbach, Karen, editor. Dewey Number: 304.663 CONTENTS Introduction ............................................... -
In the Literary Biopic
Writers On Screen: Embodying The "Life-Text" In The Literary Biopic Sonia Amalia Haiduc ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. -
The Concept of Sentimentality in Critical Approaches to Film and Its Cultural Antecedents
Charles Adam John Burnetts Ph.D candidate - Media Arts Department, Royal Holloway, University of London Ph.D degree thesis The Concept of Sentimentality in Critical Approaches to Film and its Cultural Antecedents Declaration of Authorship I, Charles Burnetts, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 22nd February 2011 Abstract This thesis examines how sentimentality, as a term central to film criticism, has been mobilized, denigrated, quarantined or ignored over 300 years of aesthetic debate. It responds to the often vexed question of what the sentimental means, by unpacking the concept’s intellectual and artistic history, tracing a transition from the Enlightenment use of sentimentality as a positive concept denoting pedagogy and moral feeling, to its entrance into the modern vernacular as a term connoting its own excess, as a function of its alleged appeals to indulgent or unearned pathos. A key question of the research concerns whether the sentimental can be recuperated within contemporary moving- image culture once we are re-familiarized with its early (lesser known about) critical applications. I contend in such a vein that the unpacking of such positive aspects of the sentimental very much colours our critical understanding of such cinematic figures as Charlie Chaplin, Steven Spielberg and those in their wake, both in terms of their films and the reception of those films. I argue that the early, classical and post- classical periods of cinema can be significantly differentiated in terms of how sentimental cinema fares critically, providing new insights into such intellectual spheres as naturalism, modernism and postmodernism in relation to the cultural reception of cinema. -
The Broken Voice
THE BROKEN VOICE The Broken Voice Reading Post-Holocaust Literature ROBERT EAGLESTONE 1 OUP CORRECTED PROOF – FINAL, 4/4/2017, SPi 3 Great Clarendon Street, Oxford, OX2 6DP, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © Robert Eaglestone 2017 The moral rights of the author have been asserted First Edition published in 2017 Impression: 1 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America British Library Cataloguing in Publication Data Data available Library of Congress Control Number: 2016955972 ISBN 978–0–19–877836–3 Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work. -
Teaching Holocaust Literature and Film
Teaching Holocaust Literature and Film Edited by Robert Eaglestone and Barry Langford 9780230_019379_01_prexii.qxd 19-11-07 09:11 PM Page i Teaching the New English Published in association with the English Subject Centre Director: Ben Knights Teaching the New English is an innovative series concerned with the teaching of the English degree in universities in the UK and elsewhere. The series addresses new and developing areas of the curriculum as well as more tradi- tional areas that are reforming in new contexts. Although the series is grounded in intellectual and theoretical concepts of the curriculum, it is con- cerned with the practicalities of classroom teaching. The volumes will be invaluable for new and more experienced teachers alike. Titles include: Gail Ashton and Louise Sylvester (editors) TEACHING CHAUCER Charles Butler (editor) TEACHING CHILDREN’S FICTION Robert Eaglestone and Barry Langford (editors) TEACHING HOLOCAUST LITERATURE AND FILM Michael Hanrahan and Deborah L. Madsen (editors) TEACHING, TECHNOLOGY, TEXTUALITY Approaches to New Media Andrew Hiscock and Lisa Hopkins (editors) TEACHING SHAKESPEARE AND EARLY MODERN DRAMATISTS Anna Powell and Andrew Smith (editors) TEACHING THE GOTHIC Forthcoming titles: Gina Wisker (editor) TEACHING AFRICAN-AMERICAN WOMEN’S WRITING Teaching the New English Series Standing Order ISBN 1–4039–4441–5 Hardback 1–4039–4442–3 Paperback (outside North America only) You can receive future titles in this series as they are published by placing a standing order. Please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address, the title of the series and one of the ISBNs quoted above.