PENGUIN GROUP USA Spring/Summer 2008 New Books for Course Use & Adoption Consideration
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The Bastard of Istanbul’ Nabanita Chakraborty*
Contesting Spaces and Conflicting Memories: A Reading of Armenian Diaspora in Elif Shafak’s ‘The Bastard Of Istanbul’ Nabanita Chakraborty* This article explores how the collective identity of the Armenian diaspora is based on the memory of the ‘genocide’ which took place in the Ottoman Empire in 1915. The Republic of Turkey’s official rejection of the term genocide and its complete denial of the act of violence perpetuated against the Armenians has been the focus of politics for the Armenian diaspora.The paper examines issues of contested memory, fractured identity, home and exile through the lens of Elif Shafak’s acclaimed novel The Bastard of Istanbul.Sha- fak’s novel enquires into the politics of tenuously holding onto the cultural memory of the genocide by the Armenian refugees in their resettled lives as American diaspora; it simultaneously critiques the collective amnesia of the Armenian massacre by the Turks.This present study complicates concepts of space/ place, history/ mem- ory, home/exile in the context of the Armenian diaspora. 1 Introduction The state orchestrated genocide of Armenians by the Ottoman Turks in 1915 was part of a jihad against all Christians in a bid to convert a plural Ottoman Empire to an Islamist Turkish Republic.1 The Armenians were the last major Christian community concentrated mostly in the eastern prov- inces (now called Eastern Anatolia) in the Ottoman Empire, next to Russia (enemy of Ottomans). The Turks were concerned that the Armenian would join hands with Russia and defeat them in the world war. As a ‘preventive measure’, the Armenians were starved, massacred or forcibly converted to Islam.The survivors of the atrocity were forced to flee Turkey and seek asy- lum in various countries, giving rise to a distinct Armenian diaspora com- munity in the World. -
The Artillery of Critique Versus the General Uncritical Consensus: Standing up to Propaganda, 1990-1999
THE ARTILLERY OF CRITIQUE VERSUS THE GENERAL UNCRITICAL CONSENSUS: STANDING UP TO PROPAGANDA, 1990-1999 by Andrew Alexander Monti Master of Arts, York University, Toronto, Canada, 2013 Bachelor of Science, Bocconi University, Milan, Italy, 2005 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Joint Program of Communication and Culture Toronto, Ontario, Canada, 2018 © Andrew Alexander Monti, 2018 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A DISSERTATION I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii ABSTRACT The Artillery of Critique versus the General Uncritical Consensus: Standing Up to Propaganda, 1990-1999 Andrew Alexander Monti Doctor of Philosophy Communication and Culture Ryerson University, 2018 In 2011, leading comedy scholars singled-out two shortcomings in stand-up comedy research. The first shortcoming suggests a theoretical void: that although “a number of different disciplines take comedy as their subject matter, the opportunities afforded to the inter-disciplinary study of comedy are rarely, if ever, capitalized on.”1 The second indicates a methodological void: there is a “lack of literature on ‘how’ to analyse stand-up comedy.”2 This research project examines the relationship between political consciousness and satirical humour in stand-up comedy and attempts to redress these two shortcomings. -
EU Enlargement, Conditionality, and the Protection of Christian Minorities in Turkey
EU Enlargement, Conditionality, and the Protection of Christian Minorities in Turkey Author(s): Isaac E. Andakian Source: Kyiv-Mohyla Law and Politics Journal 6 (2020): 45–72 Published by: National University of Kyiv-Mohyla Academy http://kmlpj.ukma.edu.ua/ EU Enlargement, Conditionality, and the Protection of Christian Minorities in Turkey Isaac E. Andakian PhD student Kennesaw State University, United States Abstract Turkey has had aspirations to join the European Union (EU) and be part of Europe since 1958. The most recent three EU enlargement rounds in 2004, 2007, and 2013 included most Eastern European countries and kept Turkey aside. Turkey has to comply with numerous enlargement conditionalities imposed by the EU to obtain the status of potential membership eligibility. Among these conditionalities are the Copenhagen criteria, which include but are not limited to the respect of minority rights as an inseparable part of Copenhagen’s political criterion. This essay discusses the respect of minority rights in Turkey as a conditionality for its EU accession and focuses on the non-Muslim Christian minorities, namely Armenian Orthodox and Greek Orthodox minorities. The findings of this essay present and demonstrate the persecutions and intolerance these minorities have encountered and still encounter in their everyday life within Turkish society by the current Turkish government and its predecessors. As a result, this essay argues that Turkey does not comply with the ‘respect of minority rights’ requirement as prescribed by the Copenhagen criteria, a prerequisite for its EU accession. Consequently, Turkey is not eligible for EU accession from the ‘respect of minority rights’ perspective as it does not fulfill the latter condition. -
Turkey's EU Accession Negotiations
Turkey’s EU Accession Negotiations: On the Rocks William Chislett Working Paper (WP) 19/2006 15/09/2006 Area: Europe – WP 19/2006 September 2006 Turkey’s EU Accession Negotiations: On the Rocks William Chislett ∗ For Kemal Kirisci, tireless promoter of Turkey’s EU membership Summary: The first year of Turkey's negotiations to join the European Union have not gone well. The main sticking point is the deadlock over Cyprus, but there are other issues such as freedom of the press and freedom of religion. Meanwhile, there is growing opposition to Turkey's membership among the public at large in the EU-25 and Turks themselves are less keen on joining. Contents Introduction Cyprus: Facing a Crunch The Military: Grappling with the Dismantling of the Pillars of Kemalism Headscarves: Rallying Point for Secularists Freedom of Expression: Scoring Own Goals Freedom of Religion: a Conundrum Kurds: Revival of PKK terrorism Armenia: Still Unresolved The Economy: On the Right Track Energy: Conduit between East and West Turkey’s Soft Power: an Emerging Force Turkey-US Relations: a Casualty of the War in Iraq Conclusion: Appendices Bibliography Introduction One year after the European Union finally agreed to launch accession negotiations with Turkey on 3 October 2005, both sides are becoming increasingly impatient of one another. On the one hand, the European Commission says the government of Recep Tayyip Erdogan, whose Justice and Development Party (AKP) has Islamist roots, is not doing enough to implement reforms or protect freedom of expression and religion. On the other, Ankara believes some countries, in particular France, are moving the goal posts and that the EU, in general, could do more to resolve the deadlock over Cyprus, a problem that could torpedo Turkey’s more than 40-year bid to join the Union. -
GIDNI 2 LITERATURE 286 MULTICULTURALISM, IDENTITY and FAMILY TIES in ELIF SHAFAK's “THE BASTARD of ISTANBUL” Delia-Maria R
GIDNI 2 LITERATURE MULTICULTURALISM, IDENTITY AND FAMILY TIES IN ELIF SHAFAK’S “THE BASTARD OF ISTANBUL” Delia-Maria Radu, Assist. Prof., PhD, University of Oradea Abstract: The paper aims to discuss a novel by the Turkish-born writer Elif Shafak, which tackles important issues such as family relationships, generation gaps, personal and general history - including the Armenian genocide, identity, migration and multiculturalism. Keywords:Shafak, novel, identity, family, migration, conflict Born in France and educated at Colegio Británico de Madrid, the Turkish writer Elif Shafak has had a cosmopolitan life, due to which English has become her second language. She has used both languages in her works, and The Bastard of Istanbul is her second novel written in English, published in 2006. ―Elif‖ is the Turkish word for Aleph (allusion to Borges? whose books are read by Armanoush Tchakhmakhchian), the first letter of the Hebrew and Persian alphabet (Ginés, 2012:26) and ―Shafak‖ is her mother‘s first name, meaning ―dawn‖. This is the chosen name (and true identity, apparently) of a writer who reflects on the fact that women keep changing their names, which do not reflect their true identities. (―I was wearing my father‘s name when I was living with my mother, but he meant nothing for me, they were divorced and I didn‘t see him. Now I‘m wearing my husband‘s name, which is artificial. My pen name, Elif Shafak, is who I really am‖, Falconnier, 2010:5) When talking about her life, Elif Shafak always remembers reading a lot in her childhood. Among her favourite books, those which have influenced her, she mentions Gulliverřs Travels, Arabian Nights, Alice in Wonderland, and Don Quixote, so it‘s not surprising that she admits to falling in love with her characters, and having trouble letting them go (we remember how, while writing his novel, Cervantes got close to his main character, who turned from a ridiculous parody – meant to put an end to chivalresque mania – to almost a self-portrait). -
Production Information
HOTEL TRANSYLVANIA (2012) PRODUCTION NOTES Production Information Welcome to the Hotel Transylvania, Dracula’s lavish five-stake resort, where monsters and their families can live it up, free to be the monsters they are without humans to bother them. On one special weekend, Dracula has invited some of the world’s most famous monsters — Frankenstein and his wife, the Mummy, the Invisible Man, a family of werewolves, and more — to celebrate his daughter Mavis’ 118th birthday. For Drac, catering to these infamous friends is no problem — but his world could come crashing down when a human stumbles on the hotel for the first time and befriends Mavis. Columbia Pictures presents a Sony Pictures Animation film, Hotel Transylvania. The film features the voices of Adam Sandler, Andy Samberg, Selena Gomez, Kevin James, Fran Drescher, Steve Buscemi, Molly Shannon, David Spade, and CeeLo Green. Directed by Genndy Tartakovsky. Produced by Michelle Murdocca. Screenplay by Peter Baynham and Robert Smigel. Story by Todd Durham and Dan Hageman & Kevin Hageman. Executive producers are Adam Sandler, Robert Smigel and Allen Covert. Music by Mark Mothersbaugh. Music Supervision by Liza Richardson. Imagery and Animation by Sony Pictures Imageworks Inc. Hotel Transylvania is rated PG by the Motion Picture Association of America for Some Rude Humor, Action and Scary Images. The computer-animated monster comedy will be released in 3D and traditional theaters nationwide on September 28, 2012. © 2012 Sony Pictures Animation 1 HOTEL TRANSYLVANIA (2012) PRODUCTION NOTES MONSTERS: THEY’RE JUST LIKE US! “Hotel Transylvania is a story about a father and a daughter – it’s just that the father happens to be Dracula,” says Genndy Tartakovsky, director of the Sony Pictures Animation film, Hotel Transylvania. -
Literary Translation
Literary Translation Also by Jean Boase-Beier A CRITICAL INTRODUCTION TO TRANSLATION STUDIES THE PRACTICES OF LITERARY TRANSLATION: Constraints and Creativity (co-editor) STYLISTIC APPROACHES TO TRANSLATION Also by Antoinette Fawcett TRANSLATION: THEORY AND PRACTICE (co-editor) Literary Translation Redrawing the Boundaries Edited by Jean Boase-Beier University of East Anglia, UK Antoinette Fawcett University of East Anglia, UK and Philip Wilson İnönü University, Turkey Selection, introduction and editorial content © Jean Boase-Beier, Antoinette Fawcett and Philip Wilson 2014 Remaining chapters © Contributors 2014 Foreword © Clive Scott 2014 Softcover reprint of the hardcover 1st edition 2014 978-1-137-31004-0 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. -
Generals, Christians and Turkey's European Revolution
Südosteuropa 58 (2010), H. 3, S. 363-388 CHALLENGES OF EUROPEANIZATION GERALD KNAUS / EKREM EDDY GüZELDERE Generals, Christians and Turkey’s European Revolution Abstract. This paper discusses the process of political change in Turkey since 1999. After a first phase of numerous EU-inspired reforms, this process after 2004 has shifted to a domestic debate over the meaning of these reforms. Understanding how this process unfolds not only is crucial to understanding Turkey, but also to bettergrasping the dynamics of Europeanization. The article looks at two issues in particular that illustrate Turkey’s Europeanization efforts: the position of non-Muslim minorities and the position of the Turkish military. In both fields, reforms have been carried out between 2001 and 2004 followed by signs of serious tensions: a wave of attacks against Turkey’s Christians, culminating in a series of assassinations in 2006 and 2007; and an effort by an important fraction of the military hierarchy to reverse the Turkish armed forces’ loss of political influence. Europeanization in Turkey clearly has become a domestic struggle. Gerald Knaus is the founding Chairman of the European Stability Initiative and Associate Fellow at the Carr Center for Human Rights Policy / Harvard Kennedy School. Ekrem Eddy Güzeldere is a political scientist who has worked as an analyst in the Istanbul office of the European Stability Initiative since 2007. After the Helsinki Moment Europeanization has a long history in Turkey and deep roots in the history of the 19th century, but it has meant very different things at different periods. The dramatic power struggles between various elites that are currently shaking Turkish politics are also shaped by different understandings of what a “Euro- pean Turkey” is supposed to look like and of the importance of democracy in this context. -
Almost Interesting Online
pnWLq [Pdf free] Almost Interesting Online [pnWLq.ebook] Almost Interesting Pdf Free David Spade *Download PDF | ePub | DOC | audiobook | ebooks #94240 in Books Spade David 2016-04-12 2016-04-12Original language:EnglishPDF # 1 8.00 x .56 x 5.31l, .0 #File Name: 0062376993240 pagesAlmost Interesting | File size: 36.Mb David Spade : Almost Interesting before purchasing it in order to gage whether or not it would be worth my time, and all praised Almost Interesting: 49 of 50 people found the following review helpful. Good read despite an unwelcome left turn.By Pen NameThis was a funny and casually well-written book, a good read But it's a little frustrating because it abandons the "narrative," if you will, without finishing it. The first 2/3 of the book deal with Spade's upbringing, his grind through the comedy club scene, and his slow climb from SNL writer to SNL performer. Even though it's written with a light touch, that stuff is all pretty compelling. But it drops that thread after he's made it as an SNL cast member. It doesn't tell the story of what prompted him to leave SNL, or his movie career (except for Tommy Boy), or his experience on sitcoms. Instead, the last 1/3 of the book morphs into more of a George Carlin "Brain Droppings" type thing -- little observational essays on miscellaneous topics ranging from doing cocaine to his thoughts on dating tricks that women pull. I would have been really interested to hear why he made the jump from SNL when he did (given how hard his climb there was) and whether he's happy or not with his sitcom and movie work. -
1. Einleitung
1. Einleitung Thereʼs a metaphor which I love: living like a drawing compass. As you know, one leg of the compass is static, rooted in a place. Meanwhile, the other leg draws a wide circle, constantly moving. Like that, in my fiction as well, one part of it is rooted in Istanbul, with strong Turk- ish roots, but the other part travels the world, connecting to different cultures. In that sense, I like to think of my fiction as both local and universal, both from here and everywhere.1 Die Worte der Autorin Elif Şafak verweisen auf einen Anspruch, der die aktuelle türkische Literaturszene maßgeblich prägt. Zeitgenössische Autoren2 schaffen Texte, die sich den thematisch wie sprachlich engen Grenzen einer national beziehungsweise idealistisch auf- geladenen Literatur verweigern. Literatur soll nicht länger im Dienste einer Nation, einer Idee stehen, soll nicht Grenzen ziehen, sondern diese in Frage stellen. Vor dem Hintergrund türkischer Literaturgeschichte ist diese Entwicklung beachtenswert, hatten Romane doch seit Gründung der Republik oft – wenn auch zweifellos nicht immer3 – einen ideologischen Auftrag, sollten den kemalistischen Diskurs unterstützen oder, wie in den 70er Jahren ge- schehen, politische Ideologien abbilden. Nach dem dritten Militärputsch 1980 aber, mit dem eine umfassende Entpolitisierung der Bevölkerung einherging, wandten sich Schrift- steller verstärkt individualistischen Themen zu.4 Gleichzeitig begann Literatur in den fol- genden Jahren auf eine Realität zu reagieren, die immer stärker von Prozessen der Globali- sierung geprägt war und ist. Die Literaturwissenschaftlerin Azade Seyhan erläutert: The impasses of Turkish modernity have urged them [die türkischen Literaten] to articulate questions that have joined them in an implicit dialogue with writers of faraway times and lands. -
Anti-Essentialist Humor in the Satire of the New Black Renaissance
University of Warsaw Institute of English Studies Kamil Chrzczonowicz OPEN-SOURCE BLACKNESS: ANTI-ESSENTIALIST HUMOR IN THE SATIRE OF THE NEW BLACK RENAISSANCE Doctoral dissertation supervised by dr hab. Ewa Łuczak, prof. UW Warsaw, 2021 CONTENTS INTRODUCTION .......................................................................................................................... 3 THEORY: HUMOR, RACE, AND IDENTITY .......................................................................... 8 Humor, Irony, and Satire in the American Public Sphere .......................................................... 10 Emotional and Intellectual Dimension of Black Humor ............................................................ 19 (Cognitive) Diversity and The Science of Multiple Subjectivities ............................................ 26 Contemporary Discourse on Race .............................................................................................. 40 The Path to The New Black Renaissance ................................................................................... 52 LITERATURE: ERASURE BY PERCIVAL EVERETT ........................................................ 68 The Forceful Racialization of Art .............................................................................................. 69 Fighting Against the “Racial Optic” .......................................................................................... 81 De-essentializing Black English ................................................................................................ -
Truth in Comedy.Pdf
Meriwether Publishing Ltd., Publisher P.O. Box 7710 Colorado Springs, CO 80933 Editor: Arthur L. Zapel Typesetting: Sharon E. Garlock Cover design: Tom Myers © Copyright MCMXCIV Meriwether Publishing Ltd. Printed in the United States of America First Edition 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, electronic, mechanical, photocopying, recording or otherwise, without permission of the publishers. Library of Congress Cataloging-in-Publication Data Halpern, Charna, 1952- Truth in Comedy : the manual for improvisation / by Charna Halpern, Del Close, and Kim "Howard" Johnson. - 1st ed. p. cm. ISBN 1-56608-003-7 1. Improvisation (Acting) 2. Stand-up comedy. I. Close, Del, 1934-1999. II. Johnson, Kim, 1955- . III. Title. PN2071.I5H26 1993 792\028-dc20 93-43701 CIP 6 7 8 01 02 03 04 DEDICATIONS Charna Halpern To my loving parents, Jack and Iris Halpern. Without their constant calls to push me to continue writing, this book might never have been finished. I also thank them for raising me in a home that was always filled with laughter. and to Rick Roman — wherever you are. Del Close To Severn Darden, Elaine May and Theodore J. Flicker. Kim "Howard" Johnson To Laurie Bradach, who improvises with me every day, and for the Baron's Barracudas, who blazed the trail. ACKNOWLEDGMENTS So many have been so wonderful. I'd like to send my thanks — To Bill Murray, Mike Myers, George Wendt, Chris Farley, Andy Richter, and Andy Dick for their support — To Suzanne Plunkett, the best photographer in Chicago — To Thorn Bishop for his way with words — To David Shepherd, Paul Sills, and Bill Williams for their inspiration — To Betsy Nolan for being a perfectionist — To "The Family" and all the other ImprovOlympic teams, for helping us to learn from them — Special thanks to Kim Yale — TABLE OF CONTENTS Foreword by Mike Myers ………………………………………………….