• Introduction
• 1984 : the author as owner
• "A necessary myth" : the author as individual
• Whose joke is it anyway? : the author as originator
• Conclusion: Return of the author.

Many narratives of theater history suggest that the 1960s marked the start of a turning away from traditional, script-based, playwright-centric production practices. Literary studies in this period began exploring the concept of the "death of the author" along similar lines. But the author refused to die quietly, and authorship reasserts itself in even revolutionary and avant-garde theaters throughout the latter half of the twentieth century. The model of authorship-valorizing individuality, ownership, and originality-serves to maintain traditional modes of production that reproduce and uphold dominant ideologies even when the products created by those modes of production claim to buck tradition or run counter to cultural currents. This ideology of authorship plays a part in playwrights shutting down productions of their own plays, in the privileging of individual authorship over joint authorship even in collaborative genres, and in the insistence on originality even in performance traditions rooted in a shared repertoire. This tension between the theoretical death of the author and the growth of actual authors' abilities to control access to and even in some cases interpretations of their work exposes the deftness with which dominant ideologies and their attendant modes of production can repurpose the aesthetics of even countercultural or revolutionary movements in theater.
(source: Nielsen Book Data)

• Acknowledgements Introduction
• 1 The Slave Trade and Racial Community: Tamango and Roots
• 2 Patriotism and Political Communities: Charles Johnson's Middle Passage
• 3 Community as Utopia: Barry Unsworth's Sacred Hunger
• 4 Rethinking the Slave Trade/Rethinking Community: Edouard Glissant's "Relation" and Jean-Luc Nancy's "Being-with" Conclusion Works Cited Index.
• (source: Nielsen Book Data)

In Narrating the Slave Trade, Theorizing Community, Raphael Lambert explores the notion of community in conjunction with literary works concerned with the transatlantic slave trade. The recent surge of interest in both slave trade and community studies concurs with the return of free-market ideology, which once justified and facilitated the exponential growth of the slave trade. The motif of unbridled capitalism recurs in all the works discussed herein; however, community, whether racial, political, utopian, or conceptual, emerges as a fitting frame of reference to reveal unsuspected facets of the relationships between all involved parties, and expose the ramifications of the trade across time and space. Ultimately, this book calls for a complete reevaluation of what it means to live together.
(source: Nielsen Book Data)

Summary in vernacular field only.

• A visit to the Oriental
• The sing-along tradition
• Practices and tools
• Community singing and the "class house"
• Community singing and local outreach
• The advent of sound
• Epilogue.

During the 1920s, a visit to the movie theater almost always included a sing-along. Patrons joined together to render old favorites and recent hits, usually accompanied by the strains of a mighty Wurlitzer organ. The organist was responsible for choosing the repertoire and presentation style that would appeal to his or her patrons, so each theater offered a unique experience. When sound technology drove both musicians and participatory culture out of the theater in the early 1930s, the practice faded and was eventually forgotten. Despite the popularity and ubiquity of community singing-it was practiced in every state, in theaters large and small-there has been scant research on the topic. This volume is the first dedicated account of community singing in the picture palace and includes nearly one hundred images, such as photographs of the movie houses' opulent interiors, reproductions of sing-along slides, and stills from the original Screen Songs "follow the bouncing ball" cartoons. Esther M. Morgan-Ellis brings the era of movie palaces to life. She presents the origins of theater sing-alongs in the prewar community singing movement, describes the basic components of a sing-along, explores the unique presentation styles of several organists, and assesses the aftermath of sound technology, including the sing-along films and children's matinees of the 1930s.
(source: Nielsen Book Data)

• v. 1. [di yi ce]
• v. 2. [di er ce]
• v. 3. [di san ce]
• v. 4. [di si ce]
• v. 5. [di wu ce]
• v. 6. [di liu ce]
• v. 7. [di qi ce]
• v. 8. [di ba ce]
• v. 9. [di jiu ce]
• v. 10. [di shi ce]
• v. 11. [di shi yi ce]
• v. 12. [di shi er ce]
• v. 13. [di shi san ce]
• v. 14. [di shi si ce]
• v. 15. [di shi wu ce]
• v. 16. [di shi liu ce]
• v. 17. [di shi qi ce]
• v. 18. [di shi ba ce]
• v. 19. [di shi jiu ce]
• v. 20. [di er shi ce]
• v. 21. [di er shi yi ce]
• v. 22. [di er shi er ce]
• v. 23. [di er shi san ce]
• v. 24. [di er shi si ce]
• v. 25. [di er shi wu ce]
• v. 26. [di er shi liu ce]
• v. 27. [di er shi qi ce]
• v. 28. [di er shi ba ce]
• v. 29. [di er shi jiu ce]
• v. 30. [de san shi ce]
• v. 31. [di san shi yi ce]
• v. 32. [di san shi er ce]
• v. 33. [di san shi san ce]
• v. 34. [di san shi si ce]
• v. 35. [ di san shi wu ce]
• v. 36. [di san shi liu ce]
• v. 37. [di san shi qi ce]
• v. 38. [di san shi ba ce]
• v. 39. [di san shi jiu ce]
• v. 40. [di si shi ce].

• v. 1. [第一冊]
• v. 2. [第二冊]
• v. 3. [第三冊]
• v. 4. [第四冊]
• v. 5. [第五冊]
• v. 6. [第六冊]
• v. 7. [第七冊]
• v. 8. [第八冊]
• v. 9. [第九冊]
• v. 10. [第十冊]
• v. 11. [第十一冊]
• v. 12. [第十二冊]
• v. 13. [第十三冊]
• v. 14. [第十四冊]
• v. 15. [第十五冊]
• v. 16. [第十六冊]
• v. 17. [第十七冊]
• v. 18. [第十八冊]
• v. 19. [第十九冊]
• v. 20. [第二十冊]
• v. 21. [第二十一冊]
• v. 22. [第二十二冊]
• v. 23. [第二十三冊]
• v. 24. [第二十四冊]
• v. 25. [第二十五冊]
• v. 26. [第二十六冊]
• v. 27. [第二十七冊]
• v. 28. [第二十八冊]
• v. 29. [第二十九冊]
• v. 30. [第三十冊]
• v. 31. [第三十一冊]
• v. 32. [第三十二冊]
• v. 33. [第三十三冊]
• v. 34. [第三十四冊]
• v. 35. [第三十五冊]
• v. 36. [第三十六冊]
• v. 37. [第三十七冊]
• v. 38. [第三十八冊]
• v. 39. [第三十九冊]
• v. 40. [第四十冊].

Ben shu shou lu le you guan jin dai Zhongguo dian ying de yan jiu zi liao 300 yu zhong, nei rong bao kuo dian ying yi shu li lun, dian ying ji shu, dian ying shi, dian ying ping lun, ju ben chuang zuo, dian ying jian cha, dian ying gong ju shu deng fang mian, wen xian lai yuan bao kuo Minguo shi qi chu ban de tu shu, qi kan, bao zhi, dang an deng wen xian, an zhao zhuan ti jin xing bian pai.
本书收录了有关近代中国电影的研究资料300余种, 内容包括电影艺术理论, 电影技术,电影史, 电影评论, 剧本创作, 电影检查, 电影工具书等方面, 文献来源包括民国时期出版的图书, 期刊, 报纸, 档案等文献, 按照专题进行编排.

• Introduction
• Getting off the page
• How to misbehave as a behaviorist (if you're Wyndham Lewis)
• Erskine Caldwell, smut, and the paperbacking of obscenity
• Sin, sex, and segregation in Lillian Smith's Silent south
• Conclusion: Off the page.

This comparative historical study explores the broad sociocultural factors at play in the relationships among U.S. obscenity laws and literary modernism and naturalism in the early twentieth century. Putting obscenity case law's crisis of legitimation and modernism's crisis of representation into dialogue, Erik Bachman shows how obscenity trials and other attempts to suppress allegedly vulgar writing in the United States affected a wide-ranging debate about the power of the printed word to incite emotion and shape behavior. Far from seeking simply to transgress cultural norms or sexual boundaries, Bachman argues, proscribed authors such as Wyndham Lewis, Erskine Caldwell, Lillian Smith, and James T. Farrell refigured the capacity of writing to evoke the obscene so that readers might become aware of the social processes by which they were being turned into mass consumers, voyeurs, and racialized subjects. Through such efforts, these writers participated in debates about the libidinal efficacy of language with a range of contemporaries, from behavioral psychologists and advertising executives to book cover illustrators, magazine publishers, civil rights activists, and judges. Focusing on case law and the social circumstances informing it, Literary Obscenities provides an alternative conceptual framework for understanding obscenity's subjugation of human bodies, desires, and identities to abstract social forces. It will appeal especially to scholars of American literature, American studies, and U.S. legal history.
(source: Nielsen Book Data)

• Contents and AbstractsPreface: Preface chapter abstractThe preface introduces the book's central thesis, that literary primitivism was an aesthetic project whose emergence coincided with the climax of European imperialist expansion, and explains that its purpose accordingly is to change the object to which primitivism refers. The preface details the historical and critical methodology of the book, with reference to the concept of totality in particular, and conducts a short reading of Aime Cesaire's short poem "Barbare." It suggests that the current phase of globalization and the critical concern with "world literature" have opened up the possibility for reconceiving of primitivism as a utopian project, albeit a vexed and problematic one.
• 1Primitivism after Its Poststructural Eclipse chapter abstract
• Chapter 1 focuses on the conceptual and theoretical problems that pertain to literary primitivism. It surveys the breadth of previous scholarship and points out that a comprehensive study that proceeded according to received usage would be hopelessly vast owing to the ahistorical presuppositions that have tended to inform its use. It sets out the terms by which the book redefines the term-especially, that primitivism was an aesthetic project specific to the historical moment when the possibility of primitive experience was perceived to be at the point of obsolescence. Transformed thus into an inherently speculative notion, it fell to the capacities of art to revive and reanimate the remnants of "primitive" (i.e., noncapitalist) social realities. The chapter reviews the previous postmodern generation of scholarship on primitivism, arguing that the historical nature of primitivism was obscured when scholars, employing the methods of poststructuralism, restricted their inquiries to questions of representation.
• 2Primitivism and Philo-primitivism chapter abstract
• Chapter 2 advances the historical side of the argument by drawing a distinction between "philo-primitivism" and "emphatic primitivism." It finds that the philo-primitivist ideal of the "noble savage" was the product of earlier periods of European colonial expansion when there yet existed social worlds beyond the perimeter of the capitalist world-system. As the "primitive accumulation" of noncapitalist societies accelerated, so the ideal of the primitive became entirely speculative and utopian. Emphatic primitivism's emergence coincides with the period that political economists at the time labeled "Imperialism, " a concept explored with reference to the work of Rosa Luxemburg in particular. The chapter ends with a discussion of the notion prevalent at this time that the "primitive" was in fact the product of "civilized" sublimation. Other writers and artists discussed include John Dryden, George Catlin, Charles Darwin, Jean-Jacques Rousseau, Robert Louis Stevenson, Karl Marx, Sigmund Freud, and Friedrich Nietzsche.
• 3Primitivism and Negritude chapter abstract
• Chapter 3 considers a range of manifestoes and essays that articulate the primitivist project. Anchoring the discussion with Ernst Bloch's conception of objective and subjective "nonsynchronicity, " it goes on to look at the ways in which artists appealed to the remnants of "primitive" societies when forming anticapitalist aesthetic programs that aimed to revive the possibility of primitive experience. It is argued that this program appealed above all to the colonized "conscripts" of capitalist modernity, something clearly in evidence in the early manifestoes and theorizations of "negritude." Across the board, it is found that the primitivist project was conceptualized in terms of an idealized immediacy that could be reached only by breaking through the mediations of a totalized capitalism. Artists and writers discussed include Carl Einstein, T. E. Lawrence, Aime Cesaire, Suzanne Cesaire, Rene Menil, and Alain Locke.
• 4The Question of Representation chapter abstract
• Chapter 4 reconsiders the question of primitivist representation in light of the theoretical and historical arguments presented in Chapters 1 through
• 3. Discussing works by Emil Nolde, D. H. Lawrence, Langston Hughes, and Jacques Roumain, it argues that primitivism has an inherent tendency to transcend any fixed notion or representation of the primitive, and that it is the work itself that must produce the sought-for primitive experience. Thus we find a vacillation between concrete representations of "primitive" remnants and an abstracted, nonspecific ideal of the primitive to come.
• 5Cesaire, Fanon, and Immediacy as a Project chapter abstract
• Chapter 5 is the book's central literary study. It "slow reads" Frantz Fanon's epochal essay "The Lived Experience of the Black" as a critical dramatization of Aime Cesaire's Cahier d'un retour au pays natal (Notebook of a Return to the Native Land). Reconstructing the full literary and philosophical context of the essay, the chapter argues that Fanon's riposte to Jean-Paul Sartre's misreading of the primitivism of the negritude poets consists of himself enacting Cesaire's primitivism. In Fanon reading Cesaire, we observe literary primitivism achieving consciousness of itself as a historical phenomenon. The chapter argues for the centrality of Cesaire's achievement to literary primitivism, at the heart of which lies a poetics of passionate sarcasm.
• 6D. H. Lawrence's Narrative Primitivism chapter abstract
• Chapter 6 presents a detailed consideration of the style and narrative structure of D. H. Lawrence's major primitivist work, Women in Love. It begins with Wyndham Lewis's attack on Lawrence's primitivism in Paleface, a book that undertakes an ironic defense of white supremacism, before considering how Women in Love pursues its own kind of "blancitude." Finding that Lawrence's prose "techniques of immediacy" are not sufficient in themselves to bring about primitivism's end, it traces the narrative logic that pushes Lawrence's characters to seek spaces beyond the perimeter of imperial civilization. The chapter closes with a discussion of Lawrence's attempt to narrate a primitivist insurrection in his late work The Plumed Serpent.
• 7Claude McKay's Primitivist Narration chapter abstractThis chapter considers Claude McKay's novels Home to Harlem and Banjo as attempts to undertake literary primitivism's project of immediacy by means of a musical aesthetics. Exploring his relationship both to the negritude poets and to Lawrence, especially the latter's Aaron's Rod, it argues that of all the writers discussed in this book, McKay's work most strenuously attempts to enter the immediate mode. In McKay's novels the hope for a reconciliation of reflexivity and immediacy, the primitive and the civilized is enacted simultaneously at the level of prose style and narrative structure. This allows us to identify a number of fissures and contradictions that beset the aesthetics of primitivism, especially the pitfalls of a utopian racialism.
• Conclusion: Primitivism, Decolonization, and World Literature chapter abstractThe conclusion recapitulates the central claims of the study, especially with regard to the phenomenological notion that primitivism was a "project, " and points to areas for further research. It also discusses in greater depth the politics of primitivism, especially the notion that it had a "decolonial horizon." This is undertaken through a brief comparative discussion of two accounts of the Haitian revolution written in the 1930s, Guy Endore's Babouk and C. L. R. James's The Black Jacobins. It finishes by considering in what respects literary primitivism might be considered an event of "world literature.".
• (source: Nielsen Book Data)

This book fundamentally rethinks a pervasive and controversial concept in literary criticism and the history of ideas. Primitivism has long been accepted as a transhistorical tendency of the "civilized" to idealize that primitive condition against which they define themselves. In the modern era, this has been a matter of the "West" projecting its primitivist fantasies onto non-Western "others." Arguing instead that primitivism was an aesthetic mode produced in reaction to the apotheosis of European imperialism, and that the most intensively primitivist literary works were produced by imperialism's colonized subjects, the book overturns basic assumptions of the last two generations of literary scholarship. Against the grain, Ben Etherington contends that primitivism was an important, if vexed, utopian project rather than a form of racist discourse, a mode that emerged only when modern capitalism was at the point of subsuming all human communities into itself. The primitivist project was an attempt, through art, to recreate a "primitive" condition then perceived to be at its vanishing point. The first overview of this vast topic in forty years, Literary Primitivism maps out previous scholarly paradigms, provides a succinct and readable account of its own methodology, and presents critical readings of key writers, including Aime Cesaire, Frantz Fanon, D. H. Lawrence, and Claude McKay.
(source: Nielsen Book Data)

$a 本书包含两方面内容: 一, 晚清民初戏剧传播研究, 除学界研究较多的文本, 表演传播之外, 本书注重考查文体间传播, 图文传播, 报刊传播及出版传播等问题, 包括小曲对戏曲的传播, 小说作为戏剧传播的软媒介, 图画类期刊对戏剧传播的影响, 民国初期戏剧类书籍的出版发行分析等; 二, 晚清民初戏剧批评研究, 主要对清末民初的剧话体戏剧批评文献, 批评群体, 批评载体等问题进行研究, 包括剧话文献考辨, 剧评家专题研究, 作为批评载体的报刊研究等.

• Pierre Boutang, par Rémi Soulié
• Pier Paolo Pasolini, par Jean-Yves Casanova
• Cristina Campo, par Muriel de Rengervé
• Guy Debord, par Clément Bosqué
• Simon Leys, par Olivier François
• Dominique de Roux, par Bertrand Lacarelle
• Peter Handke, par Matthieu Baumier
• Philippe Muray, par Main Cresciucci
• Renaud Camus, par Sébastien Greuze
• Jean-Claude Michéa, par Matthieu Falcone
• Richard Millet, par Julien Teyssandier
• Michel Houellebecq, par Ramón Romero Naval
• Marc-Édouard Nabe, par Laurent James
• Maurice G. Dantec, par Aurélien Fouillet
• Baudouin de Bodinat, par Bertrand Lacarelle.

"Boutang chassé de la Sorbonne, Campo indépendante jusqu'à l'impardonnable, Pasolini exclu du PCF pour homosexualité et mort assassiné, Leys allant faire carrière en Australie, de Roux et Millet bannis du milieu éditorial, Debord et Bodinat refusant d'entrer dans le système, Handke déprogrammé de la Comédie-Française, Camus et Nabe finissant par s'autopublier, Houellebecq jugé pour islamophobie, Dantec s'exilant au Québec, Muray mourant à temps, si l'on ose dire, Michéa empoisonnant la gauche au point de paraître l'ennemi de son propre camp... Réprouvés, bannis, infréquentables : trois adjectifs qui disent les différents degrés d'exclusion dont font l'objet ces intellectuels et écrivains ayant pourtant élaboré une oeuvre majeure. Mais par qui, et au nom de quoi sont-ils jugés et condamnés ?"--Page 4 of cover.

• Acknowledgments Introduction The Thousand and One Nights Incorporation into World Literature This Study
• Part 1 Enclosures, Journeys, and Texts
• 1 Enclosures, Letters, and Destiny: Hugo von Hofmannsthal and Andre Gide Hugo von Hofmannsthal, the Kunstmarchen, and Orientalism The Contingency of Fate: Andre Gide's Les faux-monnayeurs
• 2 Going Home: Al-Tayyib Salih and Ibrahim al-Faqih Season of Migration to the North and the Thousand and One Nights The Forbidden Room: The Thousand and One Nights and Ibrahim al-Faqih's Gardens of the Night
• 3 Writing and Enclosures: Michel Butor and Abilio Estevez The Portrait of an Author: Michel Butor's Portrait de l'artiste comme jeune singe Imprisoned Imagination: Abilio Estevez Conclusions to
• Part 1
• Part 2 Capturing the Volatility of Time
• 4 The Return of Time: Marcel Proust and Ahmet Hamdi Tanpinar Proust and the Thousand and One Nights Times of Life and Society: Ahmet Hamdi Tanpinar
• 5 Narration and Survival: Vladimir Nabokov and Margaret Atwood Nabokov, the Thousand and One Nights, and Life After Death Narrating Against Death: Margaret Atwood
• 6 Desire Unbound: The Marquis de Sade and Angela Carter Angela Carter: The Feminist-Narrative Complex
• 7 Temporal Dystopias: Botho Strauss and Haruki Murakami War and the Re-invention of Time: Botho Strauss's Der junge Mann Haruki Murakami and the Constraints of Time Conclusions to
• Part 2
• Part 3 The Textual Universe
• 8 The Celebration of Textuality: James Joyce and the Argentine (post-)Modernists The Thousand and One Nights and the Textuality of Ulysses and Finnegans Wake Textual Worlds: Fernandez, Arlt, Borges, and Piglia
• 9 Stories Without End: Italo Calvino and Georges Perec Italo Calvino and Narration: If on a Winter's Night a Traveller ... and the Thousand and One Nights Georges Perec: The Imperative of Form
• 10 The Celebration of Hybridity: Abdelkebir Khatibi and Juan Goytisolo Abdelkebir Khatibi: Narration and the Body Juan Goytisolo: Hybridity as a Refuge Conclusions to
• Part 3
• Part 4 Narrating History
• 11 The Traumas of History: William Faulkner, Toni Morrison, and Andre Brink Form History Absalom, Absalom! and the Thousand and One Nights The Haunted House: Toni Morrison's Beloved and Andre Brink's Imaginings of Sand
• 12 The Enchantment of History: Gabriel Garcia Marquez and Salman Rushdie Gabriel Garcia Marquez and One Hundred Years of Solitude Salman Rushdie: History Gone Awry
• 13 Words Against Death: Roberto Calasso, David Grossman, and Elias Khoury Roberto Calasso: The Ruin of Kasch David Grossman: Fighting the Nazi Beast Violence and the Boundaries of Narrativity: Elias Khoury's Yalo Conclusions to
• Part 4
• Part 5 Identifications, Impersonations, Doubles: The Discontents of (post-)Modernity
• 14 Aladdin's Nightmare: Henrik Pontoppidan and Ernst Junger The Curse of Aladdin: Henrik Pontoppidan The City of Brass, Aladdin, and the Discontents of Modernity: Ernst Junger
• 15 The Sindbad Syndrome: Gyula Krudy and John Barth Gyula Krudy: The Nostalgic Nomad The Intrepid Traveler: John Barth
• 16 The Mock Caliph: H. G. Wells, Arthur Schnitzler, and Orhan Pamuk A Modern Harun al-Rashid: H. G. Wells's The Research Magnificent Arthur Schnitzler's Der Traumnovelle The Writer and His Double: Orhan Pamuk's The Black Book
• 17 The Multiple Faces of Shahrazad: Leila Sebbar and Wacini Laredj Leila Sebbar: Sherezade Wacini Laredj: Les ailes de la reine Conclusions to
• Part 5
• Part 6 Aftermaths: The Delusions of Politics
• 18 The 1002nd Night: Tawfiq al-Hakim, Taha Husayn, and Naji Mahfuz Tawfiq al-Hakim: Shahrazad Taha Husayn: The Dreams of Shahrazad Najib Mahfuz: The Predicament of Shahriyar
• 19 Fabrications of Power: Hani al-Rahib and Rachid Boudjedra The Curse of Repression: al-Rahib's Alf layla wa-laylatan A False Utopia: Rachid Boudjedra
• 20 The Secret Lives of Sindbad: Mostafa Nissaboury and Bahram Beyzai Mostafa Nissaboury: Shahrazad's Suffering Sindbad's Return: Bahram Beyzai Conclusions to
• Part 6 Conclusion The Narrative Universe of Paul Auster The Framework: The Invention of Solitude The Locked Room Doubles Narrativity Bibliography.
• (source: Nielsen Book Data)

In The Thousand and One Nights and Twentieth-Century Fiction, Richard van Leeuwen challenges conventional perceptions of the development of 20th-century prose by arguing that Thousand and One Nights, as an intertextual model, has been a crucial influence on authors who have contributed to shaping the main literary currents in 20th-century world literature, inspiring new forms and concepts of literature and texts.
(source: Nielsen Book Data)

• Foreword: Corpses in the wasteland
• Symphony of horror
• Waxworks
• Nightmare bodies
• Fascism and horror
• Universal monsters
• Afterword: The age of horror.

"The roots of modern horror are found in the First World War. It was the most devastating event to occur in the early 1900s, with 38 million dead and 17 million wounded in the most grotesque of ways, owing to the new machines brought to war. If Downton Abbey showed the ripple effect of this catastrophe above stairs, Wasteland reveals how it made its way into the darker corners of our psyche on the bloody battlefield, the screaming asylum, and desolated cities and villages. Historian W. Scott Poole chronicles the era's major figures and their influences--Freud, T.S. Eliot, H.P. Lovecraft, Wilfred Owen and Peter Lorre, David Cronenberg and Freddy Krueger--as well as cult favorites and the collective unconscious. Wasteland is a surprising--but wholly convincing--perspective on horror that also speaks to the audience for history, film, and popular culture. November 11th, 2018 is the 100th anniversary of the signing of the Armistice that brought the First World War to a close, and a number of smart and well-received recent histories have helped us reevaluate this conflict. Now W. Scott Poole takes us behind the frontlines of battle to the dark places of the imagination where the legacy of the war to end all wars lives on" -- Provided by publisher.

This introduction to American Independent Cinema offers both a comprehensive industrial and economic history of the sector from the early twentieth century to the present and a study of key individual films, filmmakers and film companies.
(source: Nielsen Book Data)

• Table of Contents; List of Illustrations; Bibliographical Note; Preface and Acknowledgements; Introduction; Part One: Realism, Referentiality, and the Vulnerable; Chapter One; Chapter Two; Part Two: Zoonarrations; Chapter Three; Chapter Four; Chapter Five; Part Three: The Presence of Animal Vulnerability; Chapter Six; Chapter Seven; Chapter Eight; Epilogue; Bibliography; Index.

The term "vulnerable realism" can imply two different understandings: one presenting weak realism as incomplete, and mixed with other literary styles; the other bringing realistic vulnerable experience into narration. The second is the key concern of this work, though it does not exclude the first, as it asks questions about realism as such, entering into a polemic with the tradition of literary realism. Realism, then, is not primarily understood as a narrative style, but as a narration that tests the probability of nonhuman vulnerable experience and makes it real.The book consists of three parts. The first presents examples of how realism has been redefined in trauma studies and how it may refer to animal experience. The second explores what is added to the narrative by literature, including the animal perspective (the zoonarrative) and how it is conducted (zoocriticism). The third analyses cultural texts, such as painting, circuses, and memorials, which realistically generate animal vulnerability and provide non-anthropocentric frameworks, anchoring our knowledge in the experience of fragile historical reality.
(source: Nielsen Book Data)

• Introduction : the child in twentieth-century Korea
• Rise of the youth magazine in early colonial Korea
• Figuring the child-heart
• Writing the language of the child-heart
• The proletarian child fights back
• Playing war in late colonial Korea
• Liberating the child-heart
• Epilogue : the turn to science in post-war North and South Korea.

$a 本书从中国乡村电影的历史变迁, 叙事模式, 人物谱系和文化意蕴四个角度展开系统研究.中国 乡村电影创作在萌芽时期即出现了伦理乡村, 社会乡村, 双面乡村与传奇乡村四种叙事传统, 不同时代的中国乡村电影在传承其叙事传统的同 事, 也在美学风格, 文化视角等方面形成鲜明的时代特征.

• The birth of children's television (late 1940s to mid-1950s)
• The infancy of children's television (mid to late 1950s)
• The toddler years (the 1960s)
• Early childhood (the 1970s)
• Middle childhood (the 1980s)
• The tweens (the 1990s)
• The postmodern child (2000-Present)
• Epilogue.

Children's television plays a key role in the development of children's mass culture, the shared interests, norms, and vocabulary through which children interact with their peers and seek to define themselves as a cohort. Yet, the content and meaning of children's television as a whole, and over time, have barely been explored. Kids' TV Grows Up examines the forces driving the evolution of children's television in the US from its inception through the present day. It offers the first social history of this influential aspect of our culture, providing a comprehensive overview and analyzing iconic programs to reveal how our concept of childhood has changed and how programs produced for children reflect this dynamic. In the earliest days of television, newly suburban families welcomed TV into their homes as an electronic babysitter that would also teach their Baby Boomer children about the world. In the decades since, shifting concerns about the effects of television, new childrearing trends, advances in technology, significantly more diverse audiences, and an increasingly porous boundary between the lives of children and adults have all played roles in the continuing history of children's television. Kids' TV Grows Up tells this neglected but profoundly important story.
(source: Nielsen Book Data)

• A modo de presentación
• Los años fundacionales: Revolución, cultura e intelectualidad
• Lunes: vanguardia intelectual y símbolo revolucionario
• En busca de una revolución intelectual cubana
• La creación artística y literaria en las páginas de Lunes.