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Scarlet Experiment: Birds and Humans in America
by Jeff KarnickyEmily Dickinson’s poem “Split the Lark” refers to the “scarlet experiment” by which scientists destroy a bird in order to learn more about it. Indeed, humans have killed hundreds of millions of birds—for science, fashion, curiosity, and myriad other reasons. In the United States alone, seven species of birds are now extinct and another ninety-three are endangered. Conversely, the U.S. conservation movement has made bird-watching more popular than ever, saving countless bird populations; and while the history of actual physical human interaction with birds is complicated, our long aesthetic and scientific interest in them is undeniable. Since the beginning of the modern conservation movement in the mid-nineteenth century, human understanding of and interaction with birds has changed profoundly. In Scarlet Experiment, Jeff Karnicky traces the ways in which birds have historically been seen as beautiful creatures worthy of protection and study and yet subject to experiments—scientific, literary, and governmental—that have irrevocably altered their relationship with humans. This examination of the management of bird life in America from the nineteenth century to today, which focuses on six bird species, finds that renderings of birds by such authors as Henry David Thoreau, Emily Dickinson, Don DeLillo, and Christopher Cokinos, have also influenced public perceptions and actions. Scarlet Experiment speculates about the effects our decisions will have on the future of North American bird ecology.
The Scarlet Letter and Other Writings (Norton Critical Editions #0)
by Nathaniel Hawthorne Leland S. PersonThis perennially popular Norton Critical Edition has been revised to reflect the most current scholarly approaches to The Scarlet Letter—Hawthorne’s most widely read novel—as well as to the five short prose works—“Mrs. Hutchinson,” “Endicott and the Red Cross,” “Young Goodman Brown,” “The Minister’s Black Veil,” and “The Birth-mark”—that closely relate to the 1850 novel. This Second Norton Critical Edition also includes: · Revised and expanded explanatory footnotes, a new preface, and a note on the text by Leland S. Person. · Key passages from Hawthorne’s notebooks and letters that suggest the close relationship between his private and public writings · Seven new critical essays by Brook Thomas, Michael Ryan, Thomas R. Mitchell, Jay Grossman, Jamie Barlowe, John Ronan, and John F. Birk. · A Chronology and revised and expanded Selected Bibliography.
The Scarlet Letter (Case Studies in Contemporary Criticism)
by Nathaniel Hawthorne Ross C. MurfinThis volume presents the authoritative Centenary Edition text of Hawthorne's classic 1851 novel, along with critical essays that read The Scarlet Letter from contemporary reader-response, psychoanalytic, feminist, and new historicist perspectives. Three brief additional essays demonstrate how several critical perspectives can be combined. As in the first edition, the text and essays are complemented by biographical and critical introductions, bibliographies, and a glossary of critical and theoretical terms. Five of the seven essays are new to the second edition, as is a selection of cultural documents and illustrations.
The Scarlet Letter (MAXNotes Literature Guides)
by Michael PetrusREA's MAXnotes for Nathaniel Hawthorne's The Scarlet Letter The MAXnotes provides a comprehensive summary and analysis of The Scarlet Letter and a biography of Nathaniel Hawthorne. Places the events of the novel in historical context and discusses each chapter in detail. Includes study questions and answers along with topics for papers and sample outlines.
The Scarlet Letter SparkNotes Literature Guide (SparkNotes Literature Guide Series #57)
by SparkNotesThe Scarlet Letter SparkNotes Literature Guide by Nathaniel Hawthorne Making the reading experience fun! When a paper is due, and dreaded exams loom, here's the lit-crit help students need to succeed! SparkNotes Literature Guides make studying smarter, better, and faster. They provide chapter-by-chapter analysis; explanations of key themes, motifs, and symbols; a review quiz; and essay topics. Lively and accessible, SparkNotes is perfect for late-night studying and paper writing. Includes:An A+ Essay—an actual literary essay written about the Spark-ed book—to show students how a paper should be written.16 pages devoted to writing a literary essay including: a glossary of literary termsStep-by-step tutoring on how to write a literary essayA feature on how not to plagiarize
Scarlett's Women: 'Gone With the Wind' and its Female Fans
by Helen TaylorOne of the most successful books ever published and the basis of one of the most popular and highly praised Hollywood films of all time, Gone With the Wind has entered world culture in a way that few other stories have. Seventy-five years on from the cinematic release of Gone with the Wind, Helen Taylor looks at the reasons why the book and film have had such an appeal, especially for women. Drawing on letters and questionnaires from female fans, she brings together material from southern history, literature, film and feminist theory and discusses the themes of the Civil War and issues of race. She has previously written Gender, Race and Region in the writings of Grace King, Ruth McEnery Stuart and Kate Chopin and The Daphne Du Maurier Companion.culture and the reasons why Gone With the Wind maintains a special place in female hearts. 'fascinating . . . an original original' Suzy Feay, Time Out
Scarlett's Women: 'Gone With the Wind' and its Female Fans
by Helen TaylorOne of the most successful books ever published and the basis of one of the most popular and highly praised Hollywood films of all time, Gone With the Wind has entered world culture in a way that few other stories have.Seventy-five years on from the cinematic release of Gone with the Wind, Helen Taylor looks at the reasons why the book and film have had such an appeal, especially for women. Drawing on letters and questionnaires from female fans, she brings together material from southern history, literature, film and feminist theory and discusses the themes of the Civil War and issues of race. She has previously written Gender, Race and Region in the writings of Grace King, Ruth McEnery Stuart and Kate Chopin and The Daphne Du Maurier Companion.
The Scars We Carve: Bodies and Wounds in Civil War Print Culture
by Allison M. JohnsonIn The Scars We Carve: Bodies and Wounds in Civil War Print Culture, Allison M. Johnson considers the ubiquitous images of bodies—white and black, male and female, soldier and civilian—that appear throughout newspapers, lithographs, poems, and other texts circulated during and in the decades immediately following the Civil War. Rather than dwelling on the work of well-known authors, The Scars We Carve uncovers a powerful archive of Civil War–era print culture in which the individual body and its component parts, marked by violence or imbued with rhetorical power, testify to the horrors of war and the lasting impact of the internecine conflict. The Civil War brought about vast changes to the nation’s political, social, racial, and gender identities, and Johnson argues that print culture conveyed these changes to readers through depictions of nonnormative bodies. She focuses on images portrayed in the pages of newspapers and journals, in the left-handed writing of recent amputees who participated in penmanship contests, and in the accounts of anonymous poets and storytellers. Johnson reveals how allegories of the feminine body as a representation of liberty and the nation carved out a place for women in public and political realms, while depictions of slaves and black soldiers justified black manhood and citizenship in the midst of sectional crisis. By highlighting the extent to which the violence of the conflict marked the physical experience of American citizens, as well as the geographic and symbolic bodies of the republic, The Scars We Carve diverges from narratives of the Civil War that stress ideological abstraction, showing instead that the era’s print culture contains a literary and visual record of the war that is embodied and individualized.
The Scary Mason-Dixon Line: African American Writers and the South (Southern Literary Studies)
by Trudier HarrisNew Yorker James Baldwin once declared that a black man can look at a map of the United States, contemplate the area south of the Mason-Dixon Line, and thus scare himself to death. In The Scary Mason-Dixon Line, renowned literary scholar Trudier Harris explores why black writers, whether born in Mississippi, New York, or elsewhere, have consistently both loved and hated the South. Harris explains that for these authors the South represents not so much a place or even a culture as a rite of passage. Not one of them can consider himself or herself a true African American writer without confronting the idea of the South in a decisive way. Harris considers native-born black southerners Raymond Andrews, Ernest J. Gaines, Edward P. Jones, Tayari Jones, Yusef Komunyakaa, Randall Kenan, and Phyllis Alesia Perry, and nonsouthern writers James Baldwin, Sherley Anne Williams, and Octavia E. Butler. The works Harris examines date from Baldwin's Blues for Mr. Charlie (1964) to Edward P. Jones's The Known World (2003). By including Komunyakaa's poems and Baldwin's play, as well as male and female authors, Harris demonstrates that the writers' preoccupation with the South cuts across lines of genre and gender. Whether their writings focus on slavery, migration from the South to the North, or violence on southern soil, and whether they celebrate the triumph of black southern heritage over repression or castigate the South for its treatment of blacks, these authors cannot escape the call of the South. Indeed, Harris asserts that creative engagement with the South represents a defining characteristic of African American writing. A singular work by one of the foremost literary scholars writing today, The Scary Mason-Dixon Line superbly demonstrates how history and memory continue to figure powerfully in African American literary creativity.
Scatter 1: The Politics of Politics in Foucault, Heidegger, and Derrida
by Geoffrey BenningtonWhat if political rhetoric is unavoidable, an irreducible part of politics itself? In contrast to the familiar denunciations of political horse-trading, grandstanding, and corporate manipulation from those lamenting the crisis in liberal democracy, this book argues that the “politics of politics,” usually associated with rhetoric and sophistry, is, like it or not, part of politics from the start.Denunciations of the sorry state of current politics draw on a dogmatism and moralism that share an essentially metaphysical and Platonic ground. Failure to deconstruct that ground generates a philosophically and politically debilitating selfrighteousness that this book attempts to understand and undermine.After a detailed analysis of Foucault’s influential late concept of parrhesia, which is shown to be both philosophically and politically insufficient, close readings of Heidegger, Kierkegaard, and Derrida trace complex relations between sophistry, rhetoric, and philosophy; truth and untruth; decision; madness and stupidity in an exploration of the possibility of developing an affirmative thinking of politics that is not mortgaged to the metaphysics of presence.It is suggested that Heidegger’s complex accounts of truth and decision must indeed be read in close conjunction with his notorious Nazi commitments but nevertheless contain essential insights that many strident responses to those commitments ignore or repress. Those insights are here developed—via an ambitious account of Derrida’s often misunderstood interruption of teleology—into a deconstructive retrieval of the concept of dignity.This lucid and often witty account of a crucial set of developments in twentieth-century thought prepares the way for a more general re-reading of the possibilities of political philosophy that will be undertaken in Volume 2 of this work, under the sign of an essential scatter that defines the political as such.
Scatter 2: Politics in Deconstruction
by Geoffrey BenningtonThis book deconstructs the whole lineage of political philosophy, showing the ways democracy abuts and regularly undermines the sovereignist tradition across a range of texts from the Iliad to contemporary philosophy.Politics is an object of perennial difficulty for philosophy—as recalcitrant to philosophical mastery as is philosophy’s traditional adversary, poetry. That difficulty makes it an attractive topic for any deconstructive approach to the tradition from which we inherit our language and our concepts. Scatter 2 pursues that deconstruction, often starting with, and sometimes departing from, the work of Jacques Derrida by attending to the concepts of sovereignty on the one hand and democracy on the other. The book begins by following the fate of a line from Homer’s Iliad, where Odysseus asserts that “the rule of many is no good thing, let there be one ruler, one king.” The line, Bennington shows, is quoted, misquoted, and progressively Christianized by Aristotle, Philo Judaeus, Suetonius, the early Church Fathers, Aquinas, Dante, Ockham, Marsilius of Padua, Jean Bodin, Etienne de la Boétie, up to Carl Schmitt and Erik Peterson, and even one of the defendants at the Nuremberg trials, before being discussed by Derrida himself. In the book’s second half, Bennington begins again with Plato and Aristotle and tracks the concept of democracy as it regularly abuts and undermines that sovereignist tradition. In detailed readings of Hobbes and Rousseau, Bennington develops a notion of “proto-democracy” as a possible name for the scatter that underlies and drives the political as such and that will always prevent politics from achieving its aim of bringing itself to an end.
Scattered and Fugitive Things: How Black Collectors Created Archives and Remade History (Black Lives in the Diaspora: Past / Present / Future)
by Laura HeltonDuring the first half of the twentieth century, a group of collectors and creators dedicated themselves to documenting the history of African American life. At a time when dominant institutions cast doubt on the value or even the idea of Black history, these bibliophiles, scrapbookers, and librarians created an enduring set of African diasporic archives. In building these institutions and amassing abundant archival material, they also reshaped Black public culture, animating inquiry into the nature and meaning of Black history.Scattered and Fugitive Things tells the stories of these Black collectors, traveling from the parlors of the urban north to HBCU reading rooms and branch libraries in the Jim Crow south. Laura E. Helton chronicles the work of six key figures: bibliophile Arturo Schomburg, scrapbook maker Alexander Gumby, librarians Virginia Lee and Vivian Harsh, curator Dorothy Porter, and historian L. D. Reddick. Drawing on overlooked sources such as book lists and card catalogs, she reveals the risks collectors took to create Black archives. This book also explores the social life of collecting, highlighting the communities that used these collections from the South Side of Chicago to Roanoke, Virginia. In each case, Helton argues, archiving was alive in the present, a site of intellectual experiment, creative abundance, and political possibility. Offering new ways to understand Black intellectual and literary history, Scattered and Fugitive Things reveals Black collecting as a radical critical tradition that reimagines past, present, and future.
Scenarios: Aguirre, the Wrath of God; Every Man for Himself and God Against All; Land of Silence and Darkness; Fitzcarraldo
by Werner HerzogI do not follow ideas, I stumble into stories or into people; and I know that this is so big, I have to make a film. Very often, films come like uninvited guests, like burglars in the middle of the night. They are in your kitchen; something is stirring, you wake up at 3 a.m. and all of a sudden they come wildly swinging at you.When I write a screenplay, I write it as if I have the whole film in front of my eyes. Then it is very easy for me, and I can write very, very fast. It is almost like copying. But of course sometimes I push myself; I read myself into a frenzy of poetry, reading Chinese poets of the eighth and ninth century, reading old Icelandic poetry, reading some of the finest German poets like Hölderlin. All of this has absolutely nothing to do with the idea of my film, but I work myself up into this kind of frenzy of high-caliber language and concepts and beauty.And then sometimes I push myself by playing music, for example, a piano concerto by Beethoven, and I play it and write furiously. But none of this is an answer to the question of how you focus on a single idea for a film. And then, during shooting, you have to depart from it sometimes, while keeping it alive in its essence. —Werner Herzog, on filmmakingWerner Herzog doesn&’t write traditional screenplays. He writes fever dreams brimming with madness, greed, humor, and dark isolation that can shift dramatically during production—and have materialized into extraordinary masterpieces unlike anything in film today. Harnessing his vision and transcendent reality, these four pieces of long-form prose earmark a renowned filmmaker at the dawn of his career.
Scenarios II: Signs of Life; Even Dwarfs Started Small; Fata Morgana; Heart of Glass
by Werner HerzogThe second in a series: the master filmmaker&’s prose scenarios for four of his notable filmsOn the first day of editing Fata Morgana, Werner Herzog recalls, his editor said: &“With this kind of material we have to pretend to invent cinema.&” And this, Herzog says, is what he tries to do every day. In this second volume of his scenarios, the peerless filmmaker&’s genius for invention is on clear display. Written in Herzog&’s signature fashion—more prose poem than screenplay, transcribing the vision unfolding before him as if in a dream—the four scenarios here (three never before translated into English) reveal an iconoclastic craftsman at the height of his powers.Along with his template for the film poem Fata Morgana (1971), this volume includes the scenarios for Herzog&’s first two feature films, Signs of Life (1968) and Even Dwarfs Started Small (1970), along with the hypnotic Heart of Glass (1976). In a brief introduction, Herzog describes the circumstances surrounding each scenario, inviting readers into the mysterious process whereby one man&’s vision becomes every viewer&’s waking dream.
Scenarios III: Stroszek; Nosferatu, Phantom of the Night; Where the Green Ants Dream; Cobra Verde
by Werner HerzogFor the first time in English, and in his signature prose poetry, the film scripts of four of Werner Herzog&’s early works &“Herzog doesn&’t write traditional scripts,&” Film International remarked of the master filmmaker&’s Scenarios I and II. &“Instead, he writes scenarios which are like a hybrid of film, fiction, and prose poetry.&”Continuing a series that Publishers Weekly pronounced &“compulsively readable . . . equal parts challenging and satisfying, infuriating and enlightening,&” Scenarios III presents, for the first time in English, the shape-shifting scripts for four of Werner Herzog&’s early films: Stroszek; Nosferatu, Phantom of the Night; Where the Green Ants Dream; and Cobra Verde. We can observe Herzog&’s working vision as each of these scenarios unfolds in a form often dramatically different from the film&’s final version—as, in his own words, Herzog works himself up into &“this kind of frenzy of high-caliber language and concepts and beauty.&”With Scenarios I and II, this volume completes the picture of Herzog&’s earliest work, affording a view of the filmmaker mastering his craft, well on his way to becoming one of the most original, and most celebrated, artists in his field.
Scene Book, The
by Sandra ScofieldA treasure-trove of scene-writing wisdom from award-winning author and teacher Sandra Scofield To write a good scene, you have to know the following: Every scene has an EVENT Every scene has a FUNCTION in the narrative Every scene has a STRUCTURE: a beginning, middle, and end Every scene has a PULSE The Scene Book is a fundamental guide to crafting more effective scenes in fiction. In clear, simple language, Sandra Scofield shows both the beginner and the seasoned writer how to build better scenes, the underpinning of any good narrative. .
The Scene of the Voice: Thinking Language after Affect (SUNY series in Contemporary Continental Philosophy)
by Michael EngThe recent turns to affect and aesthetics in the humanities and the interpretive social sciences have been productive for reflecting on the crucial role sensibility plays in the constitution of the social. However, these scholarly developments construct their interventions by dismissing the attention to language that was central to the linguistic and cultural turns of previous eras and by claiming that language is an obstacle to experiencing the reality of difference to which they maintain only sensibility can grant access. By analyzing the figure of the voice in the work of Martin Heidegger and the continental thinkers who follow him, The Scene of the Voice shows that the dismissal of language in favor of sensibility requires overlooking their common connection in the problem of mimesis. As this book ultimately argues, artificially separating language and sensibility results in a failure to encounter affect, the relation to difference affect is said to name, and the experience of thinking affect is taken to provoke.
Scene-writing for Film and TV
by Simon van der BorghFocusing on an integral aspect of screenplays, this book takes students and writers at all levels through the process of understanding and writing better scenes. It interrogates the functions of a scene and how writers can then apply this knowledge to their own film and television scripts. Author Simon van der Borgh familiarises the screenwriter with the fundamental aspects of a scene, looking at what a scene is, the characters involved, the action depicted, dialogue, setting, and style. Featuring original scenes which show the practice of scene-writing and the application of ideas and approaches alongside in-depth analysis and critique, the book explores the process and approach to scene-writing and how to learn and improve methods of telling dynamic, engaging and moving stories of diverse types and formats on screen. With a strong focus on practice-based advice, the book includes exercises at every step to enable writers to build on and extend their knowledge and skills with confidence and clarity chapter by chapter. Exploring the film and TV scene with its different types, forms, and functions, it is the ideal book for aspiring screenwriters and students of screenwriting and filmmaking at all levels, as well as directors, producers and actors looking to better understand the contextual and sub-textual motivations intended by the writer.
Scenes from Shakespeare (Comparative Literature and Cultural Studies #7)
by Harry LevinFirst published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.
Scenes of Attention: Essays on Mind, Time, and the Senses
by Burnett, D. Graham; Smith, Justin E. H.Are we paying enough attention? At least since the nineteenth century, critics have alleged a widespread and profound failure of attentiveness—to others, to ourselves, to the world around us, to what is truly worthy of focus. Why is there such great anxiety over attention? What is at stake in understanding attention and the challenges it faces?This book investigates attention from a range of disciplinary perspectives, including philosophy, history, anthropology, art history, and comparative literature. Each chapter begins with a concrete scene whose protagonists are trying—and often failing—to attend. Authors examine key moments in the history of the study of attention; pose attention as a philosophical problem; explore the links between attention, culture, and technology; and consider the significance of attention for conceptualizations of human subjectivity. Readers encounter nineteenth-century experiments in boredom, ornithologists conveying sound through field notations, wearable attention-enhancing prosthetics, students using online learning platforms, and inquiries into attention as a cognitive state and moral virtue.Amid mounting concern about digital mediation of experience, the rise of “surveillance capitalism,” and the commodification of attention, Scenes of Attention deepens the thinking that is needed to protect the freedom of attention and the forms of life that make it possible.
Scenes of Sympathy: Identity and Representation in Victorian Fiction
by Audrey JaffeIn Scenes of Sympathy, Audrey Jaffe argues that representations of sympathy in Victorian fiction both reveal and unsettle Victorian ideologies of identity. Situating these representations within the context of Victorian visual culture, and offering new readings of key works by Charles Dickens, Elizabeth Gaskell, Ellen Wood, George Eliot, Oscar Wilde, and Arthur Conan Doyle, Jaffe shows how mid-Victorian spectacles of social difference construct the middle-class self, and how late-Victorian narratives of feeling pave the way for the sympathetic affinities of contemporary identity politics. Perceptive and elegantly written, Scenes of Sympathy is the first detailed examination of the place of sympathy in Victorian fiction and ideology. It will redirect the current critical conversation about sympathy and refocus discussions of late-Victorian fictions of identity.
Scenes, Semiotics and The New Real: Exploring the Value of Originality and Difference
by Chris BrownThis book provides a semiotic analysis of 'scenes', powerful vehicles for introducing new ideas, perspectives and behaviours, as a concept. In particular, it examines the types of scene that exist; explores their effectiveness in spreading new ideas; and considers their vital role in introducing originality and difference in modern society.
Scenes, Semiotics and the New Real: Exploring the Value of Originality and Difference
by Chris BrownScenes, Semiotics and the New Real.
The Scenography of Howard Barker: The Wrestling School Aesthetic 1998-2011 (Routledge Advances in Theatre & Performance Studies)
by Lara Maleen KippInfluential contemporary British playwright and director Howard Barker has been engaging with the scenography of the Wrestling School’s productions since 1998. Despite this active involvement in the design of set, costume, lighting, and sound, no in-depth published study on this aspect of his work exists to date. This monograph therefore offers the first comprehensive and detailed analysis of Barker’s scenographic practice. Combining aesthetic analysis of play texts and production records with original interview materials, this book presents the first full-length foray into Barker’s scenography. It features extracts from conversations with designers working with Barker, and with Barker himself. In addition, it presents the first printed versions of select set and costume designs by Barker. With the first fully detailed analysis of Barker’s scenographic work, this book will be a vital read for scholars and postgraduates of Barker Studies, contemporary British and European drama, theatre, and scenography.
The Scent of Ancient Magic
by Britta K. AgerMagic was a fundamental part of the Greco-Roman world. Curses, erotic spells, healing charms, divination, and other supernatural methods of trying to change the universe were everyday methods of coping with the difficulties of life in antiquity. While ancient magic is most often studied through texts like surviving Greco-Egyptian spellbooks and artifacts like lead curse tablets, for a Greek or Roman magician a ritual was a rich sensual experience full of unusual tastes, smells, textures, and sounds, bright colors, and sensations like fasting and sleeplessness. Greco-Roman magical rituals were particularly dominated by the sense of smell, both fragrant smells and foul odors. Ritual practitioners surrounded themselves with clouds of fragrant incense and perfume to create a sweet and inviting atmosphere for contact with the divine and to alter their own perceptions; they also used odors as an instrumental weapon to attack enemies and command the gods. Elsewhere, odiferous herbs were used equally as medical cures and magical ingredients. In literature, scent and magic became intertwined as metaphors, with fragrant spells representing the dangers of sensual perfumes and conversely, smells acting as a visceral way of envisioning the mysterious action of magic. The Scent of Ancient Magic explores the complex interconnection of scent and magic in the Greco-Roman world between 800 BCE and CE 600, drawing on ancient literature and the modern study of the senses to examine the sensory depth and richness of ancient magic. Author Britta K. Ager looks at how ancient magicians used scents as part of their spells, to put themselves in the right mindset for an encounter with a god or to attack their enemies through scent. Ager also examines the magicians who appear in ancient fiction, like Medea and Circe, and the more metaphorical ways in which their spells are confused with perfumes and herbs. This book brings together recent scholarship on ancient magic from classical studies and on scent from the interdisciplinary field of sensory studies in order to examine how practicing ancient magicians used scents for ritual purposes, how scent and magic were conceptually related in ancient literature and culture, and how the assumption that strong scents convey powerful effects of various sorts was also found in related areas like ancient medical practices and normative religious ritual.