These beautifully produced volumes feature prose and poetry of high literary, academic, and artistic merit, written by and about Christian artists of significant stature.

    He wrote too much and what he did write is inaccessible and elitist. Right? Wrong. "Shakespeare on Toast" knocks the stuffing from the staid old myth of Shakespeare, revealing the man and his plays for what they really are: modern, thrilling and uplifting drama. Actor and author Ben Crystal brings the bright words and colourful characters of the world's greatest hack writer brilliantly to life, handing over the key to Shakespeare's plays, unlocking the so-called difficult bits and, astonishingly, finding Shakespeare's own voice amid the poetry.Told in five fascinating Acts, "Shakespeare on Toast" sweeps the cobwebs from the Bard - from his language, his life, his time - revealing both the man and his work to be relevant, accessible and full of beans. This is a book for everyone, whether you're reading Shakespeare for the first time, occasionally find him troublesome, think you know him backwards, or have never set foot near one of his plays but have always wanted to ...It's quick, easy and good for you. Just like beans on toast.

    First published in 1957, it mapped out a new methodology in cultural studies based around interdisciplinarity and a concern with how texts-in this case, mass publications-are stitched into the patterns of lived experience. Mixing personal memoir with social history and cultural critique, The Uses of Literacy anticipates recent interest in modes of cultural analysis that refuse to hide the author behind the mask of objective social scientific technique. In its method and in its rich accumulation of the detail of working-class life, this volume remains useful and absorbing.Hoggart's analysis achieves much of its power through a careful delineation of the complexities of working-class attitudes and its sensitivity to the physical and environmental facts of working-class life. The people he portrays are neither the sentimentalized victims of a culture of deference nor neo-fascist hooligans. Hoggart sees beyond habits to what habits stand for and sees through statements to what the statements really mean. He thus detects the differing pressures of emotion behind idiomatic phrases and ritualistic observances.Through close observation and an emotional empathy deriving, in part, from his own working-class background, Hoggart defines a fairly homogeneous and representative group of working-class people. Against this background may be seen how the various appeals of mass publications and other artifacts of popular culture connect with traditional and commonly accepted attitudes, how they are altering those attitudes, and how they are meeting resistance. Hoggart argues that the appeals made by mass publicists-more insistent, effective, and pervasive than in the past-are moving toward the creation of an undifferentiated mass culture and that the remnants of an authentic urban culture are being destroyed.In his introduction to this new edition, Andrew Goodwin, professor of broadcast communications arts at San Francisco State University, defines Hoggart's place among contending schools of English cultural criticism and points out the prescience of his analysis for developments in England over the past thirty years. He notes as well the fruitful links to be made between Hoggart's method and findings and aspects of popular culture in the United States.

    English is a glorious mess of a language, cobbled together from a wide variety of sources and syntaxes, and changing over time with popular usage. Many of the words and usages we embrace as standard and correct today were at first considered slang, impolite, or just plain wrong. Filled with historic and contemporary examples, the book chronicles the long and entertaining history of language mistakes, and features some of our most common words and phrases. This is a book that will settle arguments among word lovers—and it’s sure to start a few, too.

    Hebdige [...] is concerned with the UK's postwar, music-centred, white working-class subcultures, from teddy boys to mods and rockers to skinheads and punks.' - Rolling StoneWith enviable precision and wit Hebdige has addressed himself to a complex topic - the meanings behind the fashionable exteriors of working-class youth subcultures - approaching them with a sophisticated theoretical apparatus that combines semiotics, the sociology of devience and Marxism and come up with a very stimulating short book - Time OutThis book is an attempt to subject the various youth-protest movements of Britain in the last 15 years to the sort of Marxist, structuralist, semiotic analytical techniques propagated by, above all, Roland Barthes. The book is recommended whole-heartedly to anyone who would like fresh ideas about some of the most stimulating music of the rock era - The New York Times

    Foster applies his much-loved combination of wit, know-how, and analysis to explain how each work has shaped our very existence as readers, students, teachers, and Americans.Foster illuminates how books such as The Last of the Mohicans, Moby-Dick, My Ántonia, The Great Gatsby, The Maltese Falcon, Their Eyes Were Watching God, On the Road, The Crying of Lot 49, and others captured an American moment, how they influenced our perception of nationhood and citizenship, and what about them endures in the American character. Twenty-five Books That Shaped America is a fun and enriching guide to America through its literature.

    'On the outside, [the foreigners] seem intractable, but inside they are cowardly...Although there have been a few ups-and-downs, the situation as a whole is under control.' In October 1839, a few months after the Chinese Imperial Commissioner, Lin Zexu, dispatched these confident words to his emperor, a Cabinet meeting in Windsor voted to fight Britain's first Opium War (1839-42) with China. The conflict turned out to be rich in tragicomedy: in bureaucratic fumblings, military missteps, political opportunism and collaboration. Yet over the past hundred and seventy years, this strange tale of misunderstanding, incompetence and compromise has become the founding myth of modern Chinese nationalism: the start of China's heroic struggle against a Western conspiracy to destroy the country with opium and gunboat diplomacy. "The Opium War" is both the story of modern China - starting from this first conflict with the West - and an analysis of the country's contemporary self-image. It explores how China's national myths mould its interactions with the outside world, how public memory is spun to serve the present; and how delusion and prejudice have bedevilled its relationship with the modern West.

    Or a chance teenage meeting. Or maybe simply because the place touches us, embodying in its tribes, towers and history an aspect of our understanding of what it means to be human. Paris is about romantic love. Lourdes equates with devotion. New York means energy. London is forever trendy.Berlin is all about volatility.Berlin is a city of fragments and ghosts, a laboratory of ideas, the fount of both the brightest and darkest designs of history's most bloody century. The once arrogant capital of Europe was devastated by Allied bombs, divided by the Wall, then reunited and reborn as one of the creative centers of the world. Today it resonates with the echo of lives lived, dreams realized, and evils executed with shocking intensity. No other city has repeatedly been so powerful and fallen so low; few other cities have been so shaped and defined by individual imaginations.Berlin tells the volatile history of Europe's capital over five centuries through a series of intimate portraits of two dozen key residents: the medieval balladeer whose suffering explains the Nazis' rise to power; the demonic and charismatic dictators who schemed to dominate Europe; the genius Jewish chemist who invented poison gas for First World War battlefields and then the death camps; the iconic mythmakers like Christopher Isherwood, Leni Riefenstahl, and David Bowie, whose heated visions are now as real as the city's bricks and mortar. Alongside them are portrayed some of the countless ordinary Berliners who one has never heard of, whose lives can only be imagined: the Scottish mercenary who fought in the Thirty Years' War, the ambitious prostitute who refashioned herself as a baroness, the fearful Communist Party functionary who helped to build the Wall, and the American spy from the Midwest whose patriotism may have turned the course of the Cold War.Berlin is a history book like no other, with an originality that reflects the nature of the city itself. In its architecture, through its literature, in its movies and songs, Berliners have conjured their hard capital into a place of fantastic human fantasy. No other city has so often surrendered itself to its own seductive myths. No other city has been so shaped and defined by individual imaginations. Berlin captures, portrays, and propagates the remarkable story of those myths and their makers..

    With the logic which is the great instrument of French thought, [Ellul] explores and attempts to prove the thesis that propaganda, whether its ends are demonstrably good or bad, is not only destructive to democracy, it is perhaps the most serious threat to humanity operating in the modern world."--Los Angeles Times"The theme of Propaganda is quite simply...that when our new technology encompasses any culture or society, the result is propaganda... Ellul has made many splendid contributions in this book."--Book Week"An exhaustive catalog of horrors. It shows how modern, committed man, surrounded and seized by propaganda, more often than not surrenders himself to it only too willingly, especially in democracies--because he is educated for his rule as dupe. 'The most favorable moment to seize a man and influence him,' Ellul writes, 'is when he is alone in the mass; it is at this point that propaganda can be most effective. This is the situation of the 'lonely crowd,' or of isolation in the mass, which is a natural product of modern-day society, which is both used and deepened by the mass media.' "--Los Angeles Free Press

    Over the course of the next 47 years, the company's reach grew until almost all of India south of Delhi was effectively ruled from a boardroom in the city of London.

    Yet in Homeward Bound May demonstrates that there was also a domestic version of containment where the ”sphere of influence” was the home. Within its walls, potentially dangerous social forces might be tamed, securing the fulfilling life to which postwar women and men aspired. Homeward Bound tells the story of domestic containment - how it emerged, how it affected the lives of those who tried to conform to it, and how it unraveled in the wake of the Vietnam era's assault on Cold War culture, when unwed mothers, feminists, and ”secular humanists” became the new ”enemy.” This revised and updated edition includes the latest information on race, the culture wars, and current cultural and political controversies of the post-Cold War era.

    Serving as both an introduction to fifteenth-century Italian painting and as a text on how to interpret social history from the style of pictures in a given historical period, this new edition to Baxandall's pre-eminent scholarly volume examines early Renaissance painting, and explains how the style of painting in any society reflects the visual skills and habits that evolve out of daily life. Renaissance painting, for example, mirrors the experience of such activities as preaching, dancing, and gauging barrels. The volume includes discussions of a wide variety of painters, including Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Masaccio, Luca Signorelli, Boccaccio, and countless others. Baxandall also defines and illustrates sixteen concepts used by a contemporary critic of painting, thereby assembling the basic equipment needed to explore fifteenth-century art.

    She puts the English national character under her anthropological microscope, and finds a strange and fascinating culture, governed by complex sets of unspoken rules and byzantine codes of behaviour. The rules of weather-speak. The ironic-gnome rule. The reflex apology rule. The paranoid-pantomime rule. Class indicators and class anxiety tests. The money-talk taboo and many more ...Through a mixture of anthropological analysis and her own unorthodox experiments (using herself as a reluctant guinea-pig), Kate Fox discovers what these unwritten behaviour codes tell us about Englishness.

    Gone is a plethora of small but prestigious houses that often put ideas before profit in their publishing decisions, sometimes even deliberately. Now six behemoths share 80% of the market and profit margin is all.André Schiffrin can write about these changes with authority because he witnessed them from inside a conglomerate, as head of Pantheon, co-founded by his father, bought (and sold) by Random House. And he can write about them with candor because he is no longer on the inside, having quit corporate publishing in disgust to set up a flourishing independent house, The New Press. Schiffrin's evident affection for his authors sparkles throughout a story woven around publishing the work of those such as Studs Terkel, Noam Chomsky, Gunnar Myrdal, George Kennan, Juliet Mitchell, R. D. Laing, Eric Hobsbawm and E.P.Thompson.Part-memoir, part-history, here is an account of the collapsing standards of contemporary publishing that is irascible, acute and passionate. An engaging counterpoint to recent, celebratory memoirs of the industry written by those with more stock options and fewer scruples than Schiffrin, The Business of Books warns of the danger to adventurous, intelligent publishing in the bullring of today's marketplace.

    Napoleon. Louis XVI. Robespierre, Danton, Mirabeau, Marat. Madame Roland's salon. A passionate throng of Parisian artisans storming the Bastille. A tide of ebullient social change through wars, riots, beheadings, betrayal, conspiracy, and murder.CHRISTOPHER HIBBERT was born in Leicester in 1924 and educated at Radley and Oriel College, Oxford. Described by the New Statesman as "a pearl of biographers," he has established himself as a leading popular historian whose works reflect meticulous scholarship and has written more than twenty-five histories and biographies. Married with three children, he lives in Oxfordshire.