Events, anecdotes and personalities drive its narrative to illustrate the cocktail of hostility, nationalism and nostalgia that defines every facet of the relationship. It looks at the main events through the eyes and words of actual players and contemporary observers to illustrates how, both in India and in Pakistan, these past events are seen through radically different prisms, how history keeps resurfacing and has a resonance that cannot be avoided to this day. Apart from political, military and security issues, The People Next Door evokes other perspectives: divided families, peacemakers, war mongers, contrarian thinkers, intellectual and cultural associations, unwavering friendships, the footprint of Bollywood, cricket and literature: all of which are intrinsic parts of this most tangled of relationships.

    Expanding on arguments made in his influential books The "Voice in Cinema" and "Sound in Cinema," Chion provides lapidary insight into the functions and aesthetics of sound in film and television. He considers the effects of such evolving technologies as widescreen, multitrack, and Dolby; the influences of sound on the perception of space and time; and the impact of such contemporary forms of audio-vision as music videos, video art, and commercial television. Chion concludes with an original and useful model for the audiovisual analysis of film.

    Starting with the early Sixties session scene when the teenage Page contributed to recordings by The Who, The Rolling Stones, Tom Jones and many more, the author goes on to explore Page's time in The Yardbirds, the band that would metamorphose into the legendary Led Zeppelin.Supported by album reviews, rare photographs, a full discography and candid conversations with Page's friends, managers and musical collaborators, author Martin Power's No Quarter: The Three Lives Of Jimmy Page represents the most comprehensive and up-to-date biography yet written about Jimmy Page—a "one man guitar army" and true music legend.

    Young Lenny Sethi is kept out of school because she suffers from polio. She spends her days with Ayah, her beautiful nanny, visiting with the large group of admirers that Ayah draws. It is in the company of these working class characters that Lenny learns about religious differences, religious intolerance, and the blossoming genocidal strife on the eve of Partition. As she matures, Lenny begins to identify the differences between the Hindus, Moslems, and Sikhs engaging in political arguments all around her. Lenny enjoys a happy, privileged life in Lahore, but the kidnapping of her beloved Ayah signals a dramatic change. Soon Lenny’s world erupts in religious, ethnic, and racial violence. By turns hilarious and heartbreaking, the domestic drama serves as a microcosm for a profound political upheaval.

    In Bakhtin's view, the spirit of laughter and irreverence prevailing at carnival time is the dominant quality of Rabelais's art. The work of both Rabelais and Bakhtin springs from an age of revolution, and each reflects a particularly open sense of the literary text. For both, carnival, with its emphasis on the earthly and the grotesque, signified the symbolic destruction of authority and official culture and the assertion of popular renewal. Bakhtin evokes carnival as a special, creative life form, with its own space and time.Written in the Soviet Union in the 1930s at the height of the Stalin era but published there for the first time only in 1965, Bakhtin's book is both a major contribution to the poetics of the novel and a subtle condemnation of the degeneration of the Russian revolution into Stalinist orthodoxy. One of the essential texts of a theorist who is rapidly becoming a major reference in contemporary thought, Rabelais and His World is essential reading for anyone interested in problems of language and text and in cultural interpretation.

    While concepts like Sanskritization and Westernization have helped the understanding of complex, often seemingly contradictory trends in society, Prof. Srinivas' essay on the study of one's own society continue to engage scholars, opening the way to an understanding of sociological writing itself as a text. This revised edition of the 1966 original includes these classic essays, as also an appendix where Prof. Srinivas deals with the problem of changing values in Indian society today.

    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."

    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

    Ballet is among the most beautiful forms of expression ever devised: an exquisite mix of sight and sound, stunning, aesthetics, and awesome technique. Ballet For Dummies is for anyone who wants to enjoy all that the dance forms offers - as an onlooker who wants to get a leg up on the forms you're likely to see or as an exercise enthusiast who understands that the practice of ballet can help you gainMore strength Greater flexibility Better body alignment Confidence in movement Comfort through stress reduction Infinite grace - for life From covering the basics of classical ballet to sharing safe and sensible ways to try your hand (and toes) at moving through the actual dance steps, this expert reference shows you how toBuild your appreciation for ballet from the ground up. Choose the best practice space and equipment. Warm up to your leap into the movements. Locate musical options for each exercise. Look for certain lifts in a stage performance. Tell a story with gestures. Picture a day in the life of a professional ballet dancer. Identify best-loved classic and contemporary ballets. Speak the language of ballet. Today you can find a ballet company in almost every major city on earth. Many companies have their own ballet schools - some for training future professionals, and others for interested amateurs. As you fine-tune your classical ballet technique - or even if you just like to read about it - you'll become better equipped to fully appreciate the great choreography and many styles of the dance. Ballet For Dummies raises the curtain on a world of beauty, grace, poise, and possibility!

    

    Written by four major saints, the greatest exponents of this poetic form, between the tenth and twelfth centuries, they are passionate lyrical expressions of the search for an unpredictable and spontaneous spiritual vision of 'now'. Here, yogic and tantric symbols, riddles and enigmas subvert the language of ordinary experience, as references to night and day, sex and family relationships take on new mystical meanings. These intense poems of personal devotion to a single deity also question traditional belief systems, customs, superstitions, image worship and even moral strictures, in verse that speaks to all men and women regardless of class and caste.

    Together these two volumes form the most comprehensive books available on Dylan's words. Clinton Heylin is the world's leading Dylan biographer and expert, and he has arranged the songs in a continually surprising chronology of when they were actually written rather than when they appeared on albums. Using newly discovered manuscripts, anecdotal evidence, and a seemingly limitless knowledge of every Bob Dylan live performance, Heylin reveals hundreds of facts about the songs. Here we learn about Dylan's contributions to the Traveling Wilburys, the women who inspired "Blood on the Tracks "and "Desire," " "the sources Dylan "plagiarized" for "Love and Theft "and "Modern Times," " "why he left "Blind Willie McTell" off of "Infidels "and "Series of Dreams" off of "Oh Mercy," " "what broke the long dry spell he had in the 1990s, and much more. This is an essential purchase for every true Bob Dylan fan.

    The anthology combines classic essays of great instructional value together with the most frequently anthologized essays of recent note by today's most highly regarded writers. The selections exhibit a broad range of diversity in subject matter and authorship. All essays have been selected for their utility as both models for writing and for their usefulness as springboards for independent writing. An introductory section informs readers about the qualities of the essay form and offers instruction on how to read essays critically and use the writing process to develop their own essays. For those interested in learning about reading, writing and critical thinking by studying examples of great writing.

    It includes his personal experiences when India became independent, and his ideas on freedom and liberty.The book takes the form of an autobiographical narrative and goes over the happenings of the Indian Independence movement. The book traces the events that took place and ultimately led to the partition in a frank and profound manner. The book says that politics was responsible for the partition more than religion. It also states that India failed to maximise its potential when it gained independence. The book discusses political hypocrisy, and also touches upon contemporaries of the author’s, like Nehru, Gandhi, and Subhash Chandra Bose, and highlights their mind-sets during that time.

    In the essay, originally published in Spanish in 1925, Ortega grappled philosophically with the newness of nonrepresentational art and sought to make it more understandable to a public confused by it. Many embraced the essay as a manifesto extolling the virtues of vanguard artists and promoting their efforts to abandon the realism and the romanticism of the nineteenth century.The dehumanization of the title, which was meant descriptively rather than pejoratively, referred most literally to the absence of human forms in nonrepresentational art, but also to its insistent unpopularity, its indifference to the past, and its iconoclasm. Ortega championed what he saw as a new cultural politics with the goal of a total transformation of society.Ortega was an immensely gifted writer in the best belletristic tradition. His work has been compared to an iceberg because it hides the critical mass of its erudition beneath the surface, and because it is deceptive, appearing to be more spontaneous and informal than it really is.Princeton published the first English translation of the essay paired with another entitled Notes on the Novel. Three essays were later added to make an expanded edition, published in 1968, under the title The Dehumanization of Art and Other Essays on Art, Culture and Literature .