Contemporary Television Series: Narrative Structures and Audience Perception proposes an interdisciplinary and multicultural approach of old concepts like fiction, reality and narrativity applied to actual worldwide television series. The authors that have contributed to this volume analyze the almost invisible barriers between fiction and reality in television series from different perspectives. The results of their studies are extremely interesting and revealing. The new perspectives offere
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"The Spanish Arcadia analyzes the figure of the shepherd in the sixteenth- and seventeenth-century Spanish imaginary, exploring its centrality to the discourses on racial, cultural, and religious identity. Drawing on a wide range of documents, including theological polemics on blood purity, political treatises, manuals on animal husbandry, historiography, paintings, epic poems, and Spanish ballads, Javier Irigoyen-García argues that the figure of the shepherd takes on extraordinary importance in the reshaping of early modern Spanish identity. The Spanish Arcadia contextualizes pastoral romances within a broader framework and assesses how they inform other cultural manifestations. In doing so, Irigoyen-García provides incisive new ideas about the social and ethnocentric uses of the genre, as well as its interrelation with ideas of race, animal husbandry, and nation building in early modern Spain
Part one: Afrofuturism now. Author roundtable on Afrofuturism / Isiah Lavender III and Lisa Yaszek -- Dangerous muses: black women writers creating at the forefront of Afrofuturism / Sheree R. Thomas -- Part two: Afrofuturism in literary history. This time for Africa! Afrofuturism as alternate (American) history / De Witt Douglas Kilgore -- Middle age, mer people, and the Middle Passage: Nalo Hopkinson's Afrofuturist journeying in The new moon's arms / Gina Wisker -- Young adult Afrofuturism / Rebecca Holden -- Part three: Afrofuturism in cultural history. Space/race: recovering John M. Faucette / Mark Bould -- Runoff: Afroaquanauts in landscapes of sacrifice / Elizabeth A. Wheeler -- Black futures matter: Afrofuturism and geontology in N.K. Jemisin's Broken Earth trilogy / Lisa Dowdall -- Part four: Afrofuturism and Africa. We are terror itself: Wakanda as nation / Gerry Canavan -- Global Afrofuturist ecologies / Jerome Winter -- "You can't go home again": Deji Bryce Olukotun's Nigerians in space, science fiction, and global interdependence / Marleen S. Barr -- Faster than before: science fiction in Amos Tutuola's The palm-wine drinkard / Nedine Moonsamy -- Coda: Wokeness and Afrofuturism / Isiah Lavender III and Lisa Yaszek.
Steven B. Smith examines the concept of modernity, not as the end product of historical developments but as a state of mind. He explores modernism as a source of both pride and anxiety, suggesting that its most distinctive characteristics are the self-criticisms and doubts that accompany social and political progress. Providing profiles of the modern project's most powerful defenders and critics—from Machiavelli and Spinoza to Saul Bellow and Isaiah Berlin—this provocative work of philosophy and political science offers a novel perspective on what it means to be modern and why discontent and sometimes radical rejection are its inevitable by-products
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Frontmatter --Danksagung --Inhalt --1 Einleitung --2 Heiligkeit und Heidentum im 13. Jahrhundert --3 Martyrium: Sterben für Gott als Glaubenszeugnis --4 Krieg: Heidenkampf als Glaubenszeugnis? --5 Konversion: Bekehrung zu Gott und Mission --6 Zusammenfassung --Literaturverzeichnis --Register
Preliminary Material -- Introduction /Thomas de Bruijn and Allison Busch -- Persian as a Passe-Partout /Stefano Pellò -- Pirates, Poets, and Merchants /Thibaut d'Hubert -- The Court of ʿAbd-ur-Raḥīm Khān-i Khānān as a Bridge between Iranian and Indian Cultural Traditions /Corinne Lefèvre -- Mirabai at the Court of Guru Gobind Singh /John Stratton Hawley and Gurinder Singh Mann -- Shifting Semantics in Early Modern North Indian Poetry /Thomas de Bruijn -- The Gopīs of the Jñāndev Gāthā /Catharina Kiehnle -- Poetry in Motion /Allison Busch -- "Krishna is the Truth of Man" /Francesca Orsini -- Culture in Circulation in Eighteenth-Century North India /Heidi Pauwels -- A Braj Poet in Colonial Times /Robert van de Walle -- Index /Thomas de Bruijn and Allison Busch.
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Design History: Culture and Contexts Design in it's widest definition, cannot exist within it's own paradigm. There are many thing that effect design. However, design influences and is influenced by other creative disciplines and within wider culture. Historical, societal and political events have an effect on design and vice versa. This visual timeline covers the periods of Modernism to Postmodernism and various design styles and influences contained with in each era and shows how interactions of style and influences relate to each other. This poster is a visual representation of major design milestones of the 20th and early part of the 21st century and identifies key design practitioners active and influential in each decade. It identifies the multidisciplinary nature of design and highlights major design disciples including: Vehicle Design; Architecture; Product & Industrial Design and Visual Communication & Graphic Design. This is a infographic charts design's relationship with culture and history. Literature from national and international sources were investigated in order to develop a multi-disciplinary approach in identify key moments in design history and how this relates to current world and national historical events, and events within poplar culture. These influences are mapped against key design artefacts of the period and how colour is utilised within each decade. The time line looks at design in both an international and and Irish context and charts key design moments from the foundation of the state right up to the Year of Irish Design (ID 2015). Once visualised, patterns themes and influences can be identified. Notably, from an international view, the Influence of Dieter Rams' work on Jonathan Ive and how in Ireland, government reports on the design sector had lead to representation and action within industry. The example here of Scandinavian report in 1962 which led to the foundation of Kilkenny Design Workshop in 1963 and Enterprise Ireland's Opportunities in Design in 1999 led to Design Ireland being founded a year later. With 2015 being designated as Year of Irish Design, it begs the question, what will it's lasting legacy be? This poster visualises how design is constantly evolving, and how the different design disciplines are responding to the environment in which is lives and is part of. Here we see the visual representation of the link between design history, it's culture and contexts. Finish size 594mm X 3000mm approx. Bibliography and Sources: Design Museum (2009) Fifty Cars that Changed the World Pub. Conran Eiseman, L. and Recker, K. (2011) Pantone: The Twentieth Century in Color Pub. Chronicle Books Fiell, C. (2013) 1000 Chairs Hardcover Pub. Taschen King, L. & Sissons, E. (2011) Ireland, Design and Visual Culture: Negotiating Modernity 1922-1922 Pub. Cork University Press Meggs, P.B., and Purvis, A. (2001) Meggs' History of Graphic Design Pub. John Wiley & Sons Pivot Dublin (2010) Pivot Dublin: World Design Capital Bid Pub. Dublin City Council Read, H. and Stangos, N. (1994) Dictionary of Art and Artists Pub. Thames & Hudson Toscani, O. (2000) 1000 Objects Pub. Taschen Websites: http://www.autoblog.com/photos/historys-10-bestselling-cars-of-all-time http://www.popularmechanics.com/cars/g93/the-100-hottest-cars-of-all-time http://www.creativebloq.com/architecture/famous-buildings-around-world-10121105 http://www.greatbuildings.com/greatest_hits.html http://www.militaryarchives.ie
The conjunction of print and political revolutions between 1770 and 1820 generated a body of literary history writing whose competing narratives serve functions distinct from the consolidating and regulatory ones implicit in the genre's modern identification with canonicity. This first full-length investigation of period literary history argues that it accommodated adversarial positions as well as consensus, spoke to multiple readerships, fostered provisionality along with the search for certainty, and advanced a sense of historical locatedness. After 1820, however, its mediatory powers withered in response to the ascendancy of literary criticism, unease about the numbers and diversity of readers, and the perception of a national crisis post-Peterloo. Drawing on collective biography, memoir, antiquarianism, the novel, secret history, specimens, reviews and Institutional lectures, the study invites a fundamental rethinking of the place of literary history in late eighteenth and early nineteenth-century print culture, and hence in the wider social and political movements it was both shaped by and itself helped shape.
Zola-pastiches are a sign of reception of Zola's literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola's style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola's style thanothers. The study of the imitative ways of pastiches' writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola's thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan's texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author's specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations. ; Les pastiches-Zola constituent un signe de réception de l'œuvre zolienne. Le style de l'auteur des Rougon-Macquart est toujours ciblé plus d'un siècle après sa mort par les auteurs de ce type de réécriture. Notre travail de recherche pose le problème de l'appropriation mimétique et/ou différentielle des pastiches-Zola postérieurs à sa mort. La question centrale à traiter est celle de savoir comment Zola est imité dans ces pastiches. Le pastiche implique le phénomène de reprise textuelle qui est caractérisé par l'existence de deux types de textes : l'hypertexte (texte dérivé) et l'hypotexte (texte imité). Une approche comparative associée aux théories de l'intertextualité et de l'hypertextualité nous a permis de découvrir que les pasticheurs de Zola s'inspirent de ses romans et des œuvres d'autres auteurs célèbres. Ils produisent ainsi des pastiches à hypotexte simple, double ou multiple. Les pastiches-Zola se distinguent aussi par leur visée interne (littéraire) ou externe (politique, publicitaire). Les pastiches à visées externes montrent que leurs auteurs documentent les faits sociaux de leur époque comme le faisait Zola. Certains pasticheurs font preuve d'engagement (littéraire) en s'attaquant, mais de manière indirecte, aux personnalités politiques de leur époque. En plus de leurs intentions, leur représentation du style de Zola diversifie leurs productions écrites. Chaque pasticheur obéit à certaines règles d'imitation liées de manière générale aux principes de ressemblance et de différence. Certains pastiches sont ainsi plus inventifs et/ou plus représentatifs du style zolien que d'autres. L'étude des manières imitantes des pasticheurs permet de mener une réflexion sur la notion du style dont les définitions paraissent floues. Les pasticheurs ne s'attardent plus seulement sur la thématique zolienne qui a été très critiquée de son vivant et même après sa mort. Ils allient les thèmes aux procédés stylistiques et expriment, de ce fait, une reconnaissance des qualités poétiques de l'œuvre du chef de file du naturalisme. Les pastiches-Zola produits au XXe et à l'aube du XXIe siècles apparaissent donc, non seulement comme une analyse critique de cette œuvre, mais aussi comme une critique des critiques partielles ou partiales qui ont précédé le renouvellement de la lecture des textes de l'auteur de Médan. L'imbrication des procédés stylistiques et des thèmes zoliens repris et adaptés aux contextes des pasticheurs montre que le style littéraire convoque à la fois les dimensions idiosyncrasiques et sociologiques des façons d'écrire propres à un écrivain, le style n'étant pas un phénomène abstrait mais une série de choix formels et thématiques historiquement situés et dont l'imitation est grandement déterminée par des représentations.
Over the past 7 decades, gendered software has become globally established. In this theoretical distribution, I outline the evolution of gendered software. The journey of gendered software started with the raw idea fueled by Alan Turing's imitation game in the 1950s. And only shortly thereafter, in the 1960s and 1970s, the first gendered software products like Joseph Weizenbaum's ELIZA were developed. Thus, academia took its time to not only explore technological aspects, but to further investigate the matter of gender in the 1990s CASA-paradigm (Nass et al., 1994) and Media Equation (Reeves & Nass, 1996). As these theories reasoned the social impact of gendered software, voice assistants of the 2010s provided to be real-world examples stirring criticism. By posing the question of "boy or girl" through the decades, I take a deeper look at aspects such as raison d'être, realization, consequences, and future possibilities that ultimately challenge the applied gender binary. In doing so, it becomes evident that gendered software is situated in the bigger context of gender inequalities. Therefore, I propose to consider the listing of (1) product name, (2) voice, and (3) personality traits as decisive features forming to be powerful tools in the process of gendering software.
