Expertly blending social history and cultural criticism, Judith Walkowitz shows how these narratives reveal the complex dramas of power, politics, and sexuality that were being played out in late nineteenth-century Britain, and how they influenced the language of politics, journalism, and fiction.Victorian London was a world where long-standing traditions of class and gender were challenged by a range of public spectacles, mass media scandals, new commercial spaces, and a proliferation of new sexual categories and identities. In the midst of this changing culture, women of many classes challenged the traditional privileges of elite males andasserted their presence in the public domain.An important catalyst in this conflict, argues Walkowitz, was W. T. Stead's widely read 1885 article about child prostitution. Capitalizing on the uproar caused by the piece and the volatile political climate of the time, women spoke of sexual danger, articulating their own grievances against men, inserting themselves into the public discussion of sex to an unprecedented extent, and gaining new entree to public spaces and journalistic practices. The ultimate manifestation of class anxiety and gender antagonism came in 1888 with the tabloid tales of Jack the Ripper. In between, there were quotidien stories of sexual possibility and urban adventure, and Walkowitz examines them all, showing how women were not simply figures in the imaginary landscape of male spectators, but also central actors in the stories of metropolotin life that reverberated in courtrooms, learned journals, drawing rooms, street corners, and in the letters columns of the daily press.A model of cultural history, this ambitious book will stimulate and enlighten readers across a broad range of interests.

    

    Calasso ranges through Baudelaire's life and work, focusing on two painters—Ingres and Delacroix—about whom Baudelaire wrote acutely, and then turns to Degas and Manet, who followed in the tracks Baudelaire laid down in his great essay "The Painter of Modern Life." In Calasso's lavishly illustrated mosaic of stories, insights, close readings of poems, and commentaries on paintings, Baudelaire's Paris comes brilliantly to life. In the eighteenth century, a folie was a garden pavilion set aside for people of leisure, a place of delight and fantasy. Following Baudelaire, Calasso has created a brilliant and dramatic "Folie Baudelaire"—a place where the reader can encounter the poet himself, his peers, his city, and his extraordinary likes and dislikes, finally discovering that that place is situated in the middle of the land of "absolute literature."

    Heinlein was sixty-six, at the height of his literary career; J. Neil Schulman was twenty and hadn't yet started his first novel. Because he was looking for a way to meet his idol, Schulman wangled an assignment from the New York Daily News--at the time the largest circulation newspaper in the U.S.--to interview Heinlein for its Sunday Book Supplement. The resulting taped interview lasted three-and-a-half hours. This turned out to be the longest interview Heinlein ever granted, and the only one in which he talked freely and extensively about his personal philosophy and ideology. "The Robert Heinlein Interview" contains Heinlein you won't find anywhere else--even in Heinlein's own "Expanded Universe." If you wnat to know what Heinlein had to say about UFO's, life after death, epistemology, or libertarianism, this interview is the only source available. Also included in this collection are articles, reviews, and letters that J. Neil Schulman wrote about Heinlein, including the original article written for The Daily News, about which the Heinleins wrote Schulman that it was, "The best article--in style, content, and accuracy--of the many, many written about him over the years." This book is must-reading for any serious student of Heinlein, or any reader seeking to know him better.

    Santos has presented what may well be the essence of those years - the loneliness and hunger of a people who were almost all of them hurt and broken to the bone. But for an ideal, which Santos so eloquently dramatizes in this book, they would have lost their very souls. In this sense YOU LOVELY PEOPLE is a document and at once a portrait of the Filipino heart.

    In this fascinating book, vintage accessories’ expert, Madeleine Marsh, discusses just what makes compacts so desirable and reveals their hidden secrets from cameras to cigarettes. Madeleine shows what to buy and where, what to spot when buying and how to make the most of your compacts, vintage cosmetics or beauty accessories.

    For five years in his mid-twenties, he sailed on the BEAGLE around the world, exploring jungles, climbing mountains, trekking across deserts. With every new landfall, he had new adventures: he rode through bandit country, was thrown into jail by revolutionaries, took part in an armed raid with marines, survived two earthquakes, hunted and fished. He suffered the terrible cold and rain of Tierra del Fuego, the merciless heat of the Australian outback and the inner pangs of heartbreak. He also made the discoveries that finally led him to formulate his theory of Natural Selection as the driving force of evolution. The five-year voyage of the BEAGLE was the basis for all Darwin's later work; but it also turned him from a friendly idler into the greatest scientist of his century. Kevin Jackson is a writer, broadcaster and film-maker. His most recent book is Constellation of Genius: 1922 and All That Jazz (Farrar Strauss Giroux, 2013). He lives in Cambridge, England.

    An innovative, beautifully written analysis of Mary Shelley's life and works which draws on unpublished archival material as well as Frankenstein and examines her relationship with her husband and other key personalities.

    Written by Harvard students for students, since its inception SparkNotes(TM) has developed a loyal community of dedicated users and become a major education brand. Consumer demand has been so strong that the guides have expanded to over 150 titles. SparkNotes'(TM) motto is Smarter, Better, Faster because: - They feature the most current ideas and themes, written by experts. - They're easier to understand, because the same people who use them have also written them. - The clear writing style and edited content enables students to read through the material quickly, saving valuable time. And with everything covered--context; plot overview; character lists; themes, motifs, and symbols; summary and analysis, key facts; study questions and essay topics; and reviews and resources--you don't have to go anywhere else!

    But although he lived in the German golden age of Goethe, Schiller and Mozart, he also believed that art was in terminal decline.To resolve this apparent paradox, as Michael Inwood explains in his incisive Introduction, we must understand the particular place of aesthetics in Hegel's vast intellectual edifice. Its central pillars consist of logic, philosophy of nature and philosophy of spirit. Art derives its value from offering a sensory vision of the God-like absolute, from its harmonious fusion of form and content, and from summing up the world-view of an age such as Homer's. While it scaled supreme heights in ancient Greece, Hegel doubted art's ability to encompass Christian belief or the reflective irony characteristic of modern societies. Many such challenging ideas are developed in this superb treatise; it counts among the most stimulating works of a master thinker.Table of ContentsIntroductory Lectures on Aesthetics Introduction A Note on the Translation and CommentaryINTRODUCTORY LECTURES ON AESTHETICSChapter I: The Range of Aesthetic Defined, and Some Objections against the Philosophy of Art Refuted[α Aesthetic confined to Beauty of Artβ Does Art merit Scientific Treatment?γ Is Scientific Treatment appropriate to Art?δ Answer to βε Answer to γ]Chapter II: Methods of Science Applicable to Beauty and Art[1. Empirical Method - Art-scholarship(a) Its Range(b) It generates Rules and Theories(c) The Rights of Genius2. Abstract Reflection3. The Philosophical Conception of Artistic Beauty, general notion of]Chapter III: The Conception of Artistic BeautyPart I - The Work of Art as Made and as Sensuous1. Work of Art as Product of Human Activity[(a) Conscious Production by Rule(b) Artistic Inspiration(c) Dignity of Production by Man(d) Man's Need to produce Works of Art]2. Work of Art as addressed to Man's Sense[(a) Object of Art - Pleasant Feeling?(b) Feeling of Beauty - Taste(c) Art-scholarship(d) Profounder Consequences of Sensuous Nature of Art(α) Relations of the Sensuous to the Mind(αα) Desire(ββ) Theory(γγ) Sensuous as Symbol of Spiritual(β) The Sensuous Element, how Present in the Artist(γ) The Content of Art Sensuous]Part II - The End of Art3. [The Interest or End of Art(a) Imitation of Nature?(α) Mere Repetition of Nature is -(αα) Superfluous(ββ) Imperfect(γγ) Amusing Merely as Sleight of Hand(β) What is Good to Imitate?(γ) Some Arts cannot be called Imitative(b) Humani nihil - ?(c) Mitigation of the Passions?(α) How Art mitigates the Passions(β) How Art purifies the Passions(αα) It must have a Worthy Content(ββ) But ought not to be Didactic(γγ) Nor explicitly addressed to a Moral Purpose(d) Art has its own Purpose as Revelation of Truth]Chapter IV: Historical Deducation of the True Idea of Art in Modern Philosophy1. Kant[(a) Pleasure in Beauty not Appetitive(b) Pleasure in Beauty Universal(c) The Beautiful in its Teleological Aspect(d) Delight in the Beautiful necessary though felt]2. Schiller, Winckelmann, Schelling3. The IronyChapter V: Division of the Subject[1. The Condition of Artistic Presentation is the Correspondence of Matter and Plastic Form2. Part I - The Ideal3. Part II - The Types of Art(α) Symbolic Art(β) Classical Art(γ) Romantic Art4. Part III - The Several Arts(α) Architecture(β) Sculpture(γ) Romantic Art, comprising(i) Painting(ii) Music(iii) Poetry5. Conclusion]Commentary

    From trickster tales of the Native American tradition to bestsellers of early women writers to postmodernism, this edition conveys the diversity of American literature from its origins to the present. Volume 2 covers the period of 1865 to the present.

    Extensively revised and updated, this sixth edition highlights both classic texts and cutting edge essays from more than a century of thought and writing about the movies. Editors Leo Braudy and Marshall Cohen have reformulated the book's sections and their introductions in order to lead students into a rich understanding of what the movies have accomplished, both as individual works and as contributions to what has been called "the art form of the twentieth [and now twenty-first] century." Building upon the wide range of selections and the extensive historical coverage that marked previous editions, this new compilation stretches from the earliest attempts to define the cinema to the most recent efforts to place film in the contexts of psychology, sociology, and philosophy, and to explore issues of gender and race. The sixth edition features several new essays that discuss the impact of digital technology on the traditional conceptions of what films do and how they manage to do it. Additional selections from the important works of Gilles Deleuze round out sections dealing with the theories of such writers as Sergei Eisenstein, Andre Bazin, and Christian Metz, among others. New essays also strengthen sections dealing with the idea of "excess" in film, film spectatorship, the horror genre, and feminist criticism. Film Theory and Criticism, 6/e, is ideal for undergraduate and graduate courses in film theory and criticism."

    Hailed by the New York Times as "one of the most influential texts in gender studies, men's studies and gay studies," this book uncovers the homosocial desire between men, from Restoration comedies to Tennyson's Princess.

    Three days later, her body, badly bruised and waterlogged, was found floating in the shallow waters of the Hudson River just a few feet from the Jersey shore. Her story, parlayed into a long celebrated unsolved mystery, became grist for penny presses, social reformers, and politicians alike, and an impetus for popular literature, including Edgar Allan Poe's pioneering detective story "The Mystery of Marie Roget."In The Mysterious Death of Mary Rogers, historian Amy Gilman Srebnick brilliantly recaptures the story of Mary Rogers, showing how Rogers represented an emerging class of women who took advantage of the greater economic and sexual opportunities available to them in urban America, and how her death became a touchstone for the voicing of mid-nineteenth century concerns over sexual license, the changing roles of women, law and order, and abortion. Rogers's death, first thought due to a murderous gang of rapists and later tacitly understood to be the result of an ill-performed abortion, quickly became a source of popular entertainment, a topic of political debate, and an inspiration to public policy. The incident and the city's response to it provides a fascinating window into the urban culture and consciousness of the mid-1800s. Indeed, in Rogers's name, and as a direct result of her death, two important pieces of legislation were passed in 1845: the New York City Police Reform Act which effectively modernized the city's system of policing, and the New York State law criminalizing abortion.The Mysterious Death of Mary Rogers tells a story of a death, but more importantly it also tells the story of a life--that of Mary Rogers--and of the complex urban social world of which she was a part. Like the city in which she lived, Mary Rogers was a source of wonder, mystery, and fear, provoking desire, and inspiring narrative.

    In the bustling, cluttered arcades, street and interior merge and historical time is broken up into kaleidoscopic distractions and displays of ephemera. Here, at a distance from what is normally meant by "progress," Benjamin finds the lost time(s) embedded in the spaces of things.