Studied on most undergraduate literary and cultural studies courses, Sigmund Freud takes a fresh look at the work of this groundbreaking theorist, offering students a clear introduction to Freud's importance for psychoanalytic literary criticism, while tracing the scientific and cultural contexts from which he emerged. This book guides readers through Freud's terminology and key ideas and includes a detailed bibliography of his own and other relevant texts.

    It shows that what we think of liberalism today – the top and bottom coalition we associate with President Obama - began not with Progressivism or the New Deal but rather in the wake of the post-WWI disillusionment with American society. In the twenties, the first writers and thinkers to call themselves liberals adopted the hostility to bourgeois life that had long characterized European intellectuals of both the left and the right. The aim of liberalism’s foundational writers and thinkers such as Herbert Croly, Randolph Bourne, H.G. Wells, Sinclair Lewis and H.L Mencken was to create an American aristocracy of sorts, to provide a sense of hierarchy and order associated with European statism.Like communism, Fabianism, and fascism, modern liberalism, critical of both capitalism and democracy, was born of a new class of politically self-conscious intellectuals. They despised both the individual businessman's pursuit of profit and the conventional individual's pursuit of pleasure, both of which were made possible by the lineaments of the limited nineteenth-century state.Temporarily waylaid by the heroism of the WWII generation, in the 1950s liberalism expressed itself as a critique of popular culture. It was precisely the success of elevating middle class culture that frightened foppish characters like Dwight Macdonald and Aldous Huxley, crucial influences on what was mistakenly called the New Left. There was no New Left in the 1960s, but there was a New Class which in the midst of Vietnam and race riots took up the priestly task of de-democratizing America in the name of administering newly developed rightsThe neo-Mathusianism which emerged from the 60s was, unlike its eugenicist precursors, aimed not at the breeding habits of the lower classes but rather the buying habits of the middle class.Today’s Barack Obama liberalism has displaced the old Main Street private sector middle class with a new middle class composed of public sector workers allied with crony capitalists and the country’s arbiters of style and taste.

    And, as one would expect from this unique and popular broadcaster, the tunes he lists are not the usual suspects.

    Seuss come to write The Cat in the Hat? How long did it take him to write The Cat in the Hat and The Cat in the HatComes Back? Were these books instantly successful, or did their popularity build? The answers to these questions and more can be found in this fascinating illustrated study of two books that changed the way our children learn how to read. According to Professor Nel, The Cat in the Hat and its sequel operate on many levels. The books teach reading, but they also teach about poetry, politics, ethics, comics, history, and even conartistry! Complete with the text of both books, photographs, draft material, and essays by Seuss, The Annotated Cat is like a DVD with all the extras. Cat lovers everywhere can gain a deeper understanding of two of the most popular children's books ever written, and the remarkable man behind them.

    A magical realism story inspired by Riley's time spent working as a telemarketer.

    H. Lawrence's death, a young woman wrote a book about him and presented it to a Paris publisher. She recorded the event in her diary: “It will not be published and out by tomorrow, which is what a writer would like when the book is hot out of the oven, when it is alive within oneself. He gave it to his assistant to revise.” The woman was Anaïs Nin. Nin examined Lawrence's poetry, novels, essays, and travel writing. She analyzed and explained the more important philosophical concepts contained in his writings, particularly the themes of love, death, and religion, as well as his attention to primitivism and to women. But what Anaïs Nin brought to the explication of Lawrence's writing was an understanding of the fusion of imaginative, intuitive, and intellectual elements from which he drew his characters, themes, imagery and symbolism.

    It covers all of Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. Locating the main dramatic sources and features of her work as well as centralizing her place within the 'new wave' of emergent British dramatists in the 1990's, Graham Saunders provides an introduction for those familiar and unfamiliar with her work.

    Based on interviews with over 40 media leaders, Schieffer provides an inside look at the changing role of media and asks whether today's citizens are more informed or just overwhelmed.

    The first part of the book defines and describes thirty-seven threshold concepts of the discipline in entries written by some of the field’s most active researchers and teachers, all of whom participated in a collaborative wiki discussion guided by the editors. These entries are clear and accessible, written for an audience of writing scholars, students, and colleagues in other disciplines and policy makers outside the academy. Contributors describe the conceptual background of the field and the principles that run throughout practice, whether in research, teaching, assessment, or public work around writing. Chapters in the second part of the book describe the benefits and challenges of using threshold concepts in specific sites—first-year writing programs, WAC/WID programs, writing centers, writing majors—and for professional development to present this framework in action.Naming What We Know opens a dialogue about the concepts that writing scholars and teachers agree are critical and about why those concepts should and do matter to people outside the field.

    Created by Vince Gilligan, the series charts the transformation of high school science teacher Walter White (played by Bryan Cranston) into a cold, calculating meth kingpin. Breaking Bad 101 collects esteemed critic Alan Sepinwall’s (Uproxx) popular Breaking Bad recaps in book form, featuring new, exclusive essays and completely revised and updated commentary—as well as insights from and interviews with the creative masterminds behind Breaking Bad. The ultimate critical companion for one of the greatest television dramas of all time, Breaking Bad 101 offers fans Sepinwall’s smart, funny, and incisive analysis of the psychology and filmmaking craft behind each episode and celebrates the series’ unique place in pop-culture history.

    Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter. To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

    In twenty-three passionate, sparkling dispatches—that range over such crucial writers as Thomas Hardy, Leon Tolstoy, Edmund Wilson, and Mikhail Lermontov—Wood offers a panoramic look at the modern novel. He effortlessly connects his encyclopedic, passionate understanding of the literary canon with an equally in-depth analysis of the most important authors writing today, including Cormac McCarthy, Lydia Davis, Aleksandar Hemon, and Michel Houellebecq. Included in The Fun Stuff are the title essay on Keith Moon and the lost joys of drumming—which was a finalist for last year's National Magazine Awards—as well as Wood's essay on George Orwell, which Christopher Hitchens selected for the Best American Essays 2010. The Fun Stuff is indispensable reading for anyone who cares about contemporary literature.

    A serial killer on a warped moral mission who turns his victims' "sins" into the means of their murder. The movie Seven is analyzed here covering topics such as sin, story, structure, seriality, sound, sight and salvation.

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