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Regimes of Comparatism
Historically, all societies have used comparison to analyze cultural difference through the interaction of religion, power, and translation. When comparison is a self-reflective practice, it can be seen as a form of comparatism. Many scholars are concerned in one way or another with the practice and methods of comparison, and the need for a cognitively robust relativism is an integral part of a mature historical self-placement. This volume looks at how different theories and practices of writing and interpretation have developed at different times in different cultures and reconsiders the specificities of modern comparative approaches within a variety of comparative moments. The idea is to reconsider the specificities, the obstacles, and the possibilities of modern comparative approaches in history and anthropology through a variety of earlier and parallel comparative horizons. Particular attention is given to the exceptional role of Athens and Jerusalem in shaping the Western understanding of cultural difference. Contributors are: Matei Candea, Philippe Descola, Renaud Gagné, Simon Goldhill, Anthony Grafton, Caroline Humphrey, Dmitri Levitin, Geoffrey Lloyd, Joan-Pau Rubiés, Jonathan Sheehan, Marilyn Strathern, Guy Stroumsa, and Phiroze Vasunia.
Driving Visions
Author: David Laderman
language: en
Publisher: University of Texas Press
Release Date: 2010-01-01
From the visionary rebellion of Easy Rider to the reinvention of home in The Straight Story, the road movie has emerged as a significant film genre since the late 1960s, able to cut across a wide variety of film styles and contexts. Yet, within the variety, a certain generic core remains constant: the journey as cultural critique, as exploration beyond society and within oneself. This book traces the generic evolution of the road movie with respect to its diverse presentations, emphasizing it as an "independent genre" that attempts to incorporate marginality and subversion on many levels. David Laderman begins by identifying the road movie's defining features and by establishing the literary, classical Hollywood, and 1950s highway culture antecedents that formatively influenced it. He then traces the historical and aesthetic evolution of the road movie decade by decade through detailed and lively discussions of key films. Laderman concludes with a look at the European road movie, from the late 1950s auteurs through Godard and Wenders, and at compelling feminist road movies of the 1980s and 1990s.
The Counterfeit Guest
In this rousing sequel to The Blackstone Key, Rose Melikan’s heroine returns to the world of espionage for an intelligent, thrilling adventure in Georgian England. When the story begins Mary is a wealthy heiress. Young ladies in her situation ought to marry well—as her friend Susannah Armitage has. But is Susannah’s marriage to Colonel Crosby-Nash all that it seems? Mary thinks not, and when her suspicions lead to a meeting with the elusive spymaster, Cuthbert Shy, he reveals the terrible truth—the colonel is a traitor. At Shy’s request, Mary agrees to accompany the Crosby-Nashes to their country estate, in order to discover his secrets. It is a perilous assignment, and the danger increases when her only means of communicating with Shy is murderously cut off. If only Mary could contact the redoubtable Captain Robert Holland, but as he has inexplicably ended their friendship, his help seems out of reach.… In the grand tradition of Charlotte Bronte and Daphne du Maurier, Melikan presents a gripping tale of adventure and romance, while enhancing both with flawless details of time and place. The combination will keep readers holding their breath until the next explosive installment.