This book addresses a number of concerns that have emerged in recent scholarship on the nineteenth century. It contributes to existing dialogues that consider how the nineteenth century can be thought about and critically rethought through literature and other kinds of textual production. The book offers a theoretical consideration of the concept of the nineteenth century by considering Walter Benjamin's famous work The Arcades Project, focusing on Arnold Bennett's entitled 'The Rising Storm of Life'. It outlines how recent developments in Gothic studies have provided new ways of critically reflecting upon the nineteenth century. The book draws attention to the global scope of Victorian literature, and explores the exchanges which took place between Indian and British cultures. It argues that attending to the fashioning of American texts by British publishers enables people to rethink the emergence of American literature as a material as well as an imaginative phenomenon. The relationship between literature and the European anatomical culture is carried out by exploring nineteenth-century narratives from Mary Shelley's Frankenstein in the first decades of the nineteenth-century to Charles Dickens's fiction in the 1860s. Historical fiction writers' persistent fascination with the long nineteenth century enacts a simultaneous drawing near to and distancing from the period, the lives of its inhabitants and its cultural icons, aesthetic discourses and canonical works. Adaptive practice in the neo-Victorian novel, applied both to Victorian literary precursors and the period more generally, may be better described as adaptive reuse or, perhaps appropriative reuse.
This book offers a comprehensive reassessment of ekphrasis: the verbal representation of visual art. In the past twenty-five years numerous books and articles have appeared covering different aspects of ekphrasis, with scholars arguing that it is a fundamental means by which literary artists have explored the nature of aesthetic experience. However, many critics continue to rely upon the traditional conception of ekphrasis as a form of paragone (competition) between word and image. This interdisciplinary collection seeks to complicate this critical paradigm, and proposes a more reciprocal model of ekphrasis that involves an encounter or exchange between visual and textual cultures. This critical and theoretical shift demands a new form of ekphrastic poetics, which is less concerned with representational and institutional struggles, and more concerned with ideas of ethics, affect, and intersubjectivity. The book brings together leading scholars working in the fields of literary studies, art history, modern languages, and comparative literature, and offers a fresh exploration of ekphrastic texts from the Renaissance to the present day. The chapters in the book are critically and methodologically wide-ranging; yet they share an interest in challenging the paragonal model of ekphrasis that has been prevalent since the early 1990s, and establishing a new set of theoretical frameworks for exploring the ekphrastic encounter.
this and the following chapters will be to explore the ways that films are
structured and the theories that inform those structures in terms of what is
recognised as traditional film-editing practice.
Any considerations of the way that dialogue is edited must
begin by acknowledging that the structuring methods that editors use to
reveal the essential meanings within a set of dialogue exchanges have
, Marx (1990) demonstrates how the difference between things ‘in themselves’ (things capable of being used, use-values) and those same things as bearers of value (things capable of being exchanged, exchange-values) is central to this commodification. Commodities are not static ‘things’, however. As use-values they embody ‘concrete labour’, the particular skills required to produce the object at hand. A suit embodies the concrete labour of a tailor, and a laptop computer embodies the concrete labour of designers, component manufacturers, assembly teams
Though it has become almost a
commonplace to invoke Lévi-Strauss when speaking of woman as a
privileged commodity within culture, I do so in order to demonstrate
the ambivalences inscribed into any acts of exchange, where a body
is transformed into a sign. As Lévi-Strauss explains,
‘there is no need to call upon the matrimonial vocabulary of
Great Russia, where the groom was
category of exchange-traded instruments, which are purchased or sold
on an organised financial exchange or market. This category includes
financial futures and traded options. The second category refers to
those instruments bought directly from a bank or other financial
institution and these are called over-the-counter (OTC) derivatives.
OTC derivatives include swaps, forward contracts and options
per cent of the 450 million laborers in the countryside (World Bank 1996b, 50–1; Yabuki and Harner 1998, 144; J. Y. Lin,
Cai and Li 1996, 179–81).
Central to China’s economic growth has been the liberalization of the
foreign trade and investment regime, and the adoption of an ambitious
“open-door” strategy. Prior to the introduction of the Deng reforms, China
remained a backward and closed economy, with foreign trade amounting to
a minuscule 4.7 per cent of GNP. However, the liberalization of the foreigntrade and exchange-rate regimes, followed by further wide
Attwood_04_chap 9-12.indd 183
gender and housing in soviet russia
square metres in 1962 to 650,000 in 1965,30 and in both of these cities
demand far outstripped supply. However, in the country as a whole they
constituted no more than 10 per cent of new living space.31
One significant problem with cooperatives was that moving house
was difficult. The official owner of the apartments was the cooperative,
not the residents; and the decision to sell, exchange or even bequeath
an apartment to a family member could only be made by
silver was widely used for coinage. London long had the largest share
of trade with Asia and India, where silver was all-important, as it was
used both as a commodity and a means of exchange. Branches of all
the Indian and Far Eastern banks were located in London, and ‘these
were the principal intermediaries for the mercantile trade with the Far
East’.2 London was also convenient for supplying the coinage requirements of continental European nations. There were also regular weekly
shipments from American and Mexican producers in London, which
were dispatched to
why McCoy failed to develop a comprehensive domestic collecting mechanism within Australia.
The third section continues the argument by exploring McCoy’s connections with, and
reliance on, British natural history dealers. In doing so, this section questions the notions
of centres and peripheries in the study of colonial networks. The final section looks at the
role of scientific exchanges and McCoy’s attitude to these within scientific networks.
This demonstrates that McCoy’s museum was a product of his procurement networks, which