Look Western
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Saturday's Cowboy
Rusty Reynolds, an ex-B-grade western movie star, arrives in Tucson, Arizona, nearly broke and no prospects. Chuck Baxter, a ruthless land developer, hires Rusty at low wages to promote the Bar M Ranch, a remote desert subdivision. While Baxter schemes to relieve eastern retirees of their money, Rusty finds a way to relieve Baxter of some of his ill-gotten profits. When Baxter discovers that Rusty's revenge includes the stealing of his wife the plot turns deadly. When Baxter, in a failed attempt on Rusty's life, accidentally kills one of Rusty's Friends, Rusty gets even by entering the race for the U.S. Senate against Baxter. Although running as a stalking horse, Rusty proves to be an adept politician. Does Rusty get the girl? Does he win a seat in the U.S. Senate? Does he ride off into the sunset? Saturday's Cowboy is an irresistible page-turned replete with exciting subplots and a colorful supporting cast. If the plot of Saturday's Cowboy reminds you of a Tim Holt or Clint Eastwood western, the effect is intentional.
Narrating the Self
Narrating the Self examines the historical formation of modern Japanese literature through a fundamental reassessment of its most characteristic form, the 'I-novel, ' an autobiographical narrative thought to recount the details of the writer's personal life thinly veiled as fiction. Closely analysing a range of texts from the late nineteenth century through to the present day, the author argues that the 'I-novel' is not a given form of text that can be objectively identified, but a historically constructed reading mode and cultural paradigm that not only regulated the production and reception of literary texts but also defined cultural identity and national tradition. Instead of emphasising, as others have, the thematic and formal elements of novels traditionally placed in this category, she explores the historical formation of a field of discourse in which the 'I-novel' was retroactively created and defined.
Image of Istanbul, Impact of ECOC 2010 on the City Image
Author: Evinc Dogan
language: en
Publisher: Transnational Press London
Release Date: 2016-07-31
Istanbul “took the stage” as one of the three European Capital of Culture (ECoC) cities in 2010. In this spectacle, the urban spaces were projected as the theatre décor while residents and visitors became the spectators. The images of Istanbul pile up in videos and posters to show the city in every aspect in which everything becomes mishmash and the message gets lost in the chaos. While Istanbul is depicted as a mystified city through Orientalist representations, this image of Istanbul moves between the opposite ends of the contrasting pairs, and in contestation. “Culture, defined as making sense of the world (Hall, 1997: 2), is an integral part of branding a place, which involves cultural exchange (Anholt, 2005: 140). Mega-events may be used as forms of advertising for city marketing and branding, where the signification is not only about production of meaning but also staging of the meaning. The cities hosting mega-events can be turned into the protagonists of the spectacle by showcasing their cultural products as well as cultural being. Thus, what staged there are the city, its image as well as the events. The mega-events are helpful to spread the word about the city, but the meaning is created also through imaging the city and positioning this image in the minds of the people.” CONTENT IntroductionChapter 1: Understanding and dissecting the city imageChapter 2. Marketing the city and the city imageChapter 3. Istanbul: European Capital of Culture 2010Chapter 4. Posters of Istanbul 2010Chapter 5. Istanbul in betweenConclusion