Author: Cathy Elliott File Type: pdf This book looks at democracy promotion as a form of foreign policy. Elliott asks why democracy was seen to be the answer to the 77 bombings in London, and why it should be promoted not in Britain, but in Pakistan. The book provides a detailed answer to these questions, examining the logic and the modes of thinking that made such a response possible through analysis of the stories we tell about ourselves stories about time, history, development, civilisation and the ineluctable spread of democracy. Elliott argues that these narratives have become a key tool in enabling practices that differentiate selves from others, friends from enemies, the domestic from the foreign, civilisation from the barbarian. They operate with a particular conception of time and constitute a British, democratic, national identity by positing an other that is barbaric, alien, despotic, violent and backward. Such understandings are useful in wake of disaster, because they leave us with something to do danger can be managed by bringing certain people and places up-to-date. However, this book shows that there are other stories to be told, and that it is possible to read stories about history against the grain and author alternative, less oppressive, versions. Providing a genealogy drawing on material from colonial and postcolonial Britain and Pakistan, including legislation, political discourse, popular cultureand government projects, this book will be of interest to scholars and students focusing on democracy promotion genealogy critical border studies poststructural IR postcolonial politics discourse analysis identitysubjectivity and the war on terror. **

Author: Jonathan Cott File Type: epub One of my oldest crusades is against the distinction between thought and feeling, which is really the basis of all anti-intellectual views the heart and the head, thinking and feeling, fantasy and judgment . . . and I dont believe its true. . . . I have the impression that thinking is a form of feeling and that feeling is a form of thinking. Susan Sontag, one of the most internationally renowned and controversial intellectuals of the latter half of the twentieth century, still provokes. In 1978 Jonathan Cott, a founding contributing editor of Rolling Stone magazine, interviewed Sontag first in Paris and later in New York. Only a third of theirtwelve hours of discussion ever made it to print. Now, more than three decades later, Yale University Press is proud to publish the entire transcript of Sontags remarkable conversation, accompanied by Cotts preface and recollections.Sontags musings and observations reveal the passionate engagement and breadth of her critical intelligence and curiosities at a moment when she was at the peak of her powers. Nearly a decade after her death, these hours of conversation offer a revelatory and indispensable look at the self-described besotted aesthete and obsessed moralist. I really believe in history, and thats something people dont believe in anymore. I know that what we do and think is a historical creation. . . .We were given a vocabulary that came into existence at a particular moment. So when I go to a Patti Smith concert, I enjoy, participate, appreciate, and am tuned in better because Ive read Nietzsche. Theres no incompatibility between observing the world and being tuned into this electronic, multimedia, multi-tracked, McLuhanite world and enjoying what can be enjoyed. I love rock and roll. Rock and roll changed my life. . . .You know, to tell you the truth, I think rock and roll is the reason I got divorced. I think it was Bill Haley and the Comets and Chuck Berry that made me decide that I had to get a divorce and leave the academic world and start a new life.**

Author: Matthew G. Kirschenbaum File Type: pdf Writing in the digital age has been as messy as the inky rags in Gutenbergs shop or the molten lead of a Linotype machine. Matthew Kirschenbaum examines how creative authorship came to coexist with the computer revolution. Who were the early adopters, and what made others anxious? Was word processing just a better typewriter, or something more? The story of writing in the digital age is every bit as messy as the ink-stained rags that littered the floor of Gutenbergs print shop or the hot molten lead of the Linotype machine. During the period of the pivotal growth and widespread adoption of word processing as a writing technology, some authors embraced it as a marvel while others decried it as the death of literature. The product of years of archival research and numerous interviews conducted by the author, Track Changes is the first literary history of word processing. Matthew Kirschenbaum examines how the interests and ideals of creative authorship came to coexist with the computer revolution. Who were the first adopters? What kind of anxieties did they share? Was word processing perceived as just a better typewriter or something more? How did it change our understanding of writing? Track Changes balances the stories of individual writers with a consideration of how the seemingly ineffable act of writing is always grounded in particular instruments and media, from quills to keyboards. Along the way, we discover the candidates for the first novel written on a word processor, explore the surprisingly varied reasons why writers of both popular and serious literature adopted the technology, trace the spread of new metaphors and ideas from word processing in fiction and poetry, and consider the fate of literary scholarship and memory in an era when the final remnants of authorship may consist of folders on a hard drive or documents in the cloud. **Review Culling from specialized publications, mainstream journalism, and author interviews, Kirschenbaum recaptures the excitement and optimism writers often felt in the face of this magical new technology. To many, word processing seemed to promise a new possibility for aesthetic perfection. (Dylan Hicks Los Angeles Review of Books 2016-04-14) Word processors have become so popular that they can seem simultaneously essential and mundane Kirschenbaum shows that word processing was once considered radical, empowering, even frightening and strange. (Craig Fehrman Boston Globe 2016-05-05) As Kirschenbaums history reminds us, the story of personal computers supplanting older systems dedicated to word processingwas hardly the fait accompli that we sometimes think it was. His book attempts a full literary history of this shift. To do so, he ranges across a number of phenomena. (Eric Banks Bookforum 2016-04-01) A learned and lively study of the sometimesuneasy fit between writing on a computer and writing generallyAs Kirschenbaum rightly notes, literature is different after word processing, and so is literary history. He makes a solid start in showing how. (Kirkus Reviews 2016-04-01) Kirschenbaum aligns literary art with information processing machines (computers) to create a history of word processingFor readers interested in the history of the production of writing as well as those who appreciate the finer techrelated facts that have fallen out of popular memory. (Jesse A. Lambertson Library Journal 2016-05-01) A well-researched, scholarly history of how early electronic typewriters, word processors, and microprocessor-based computers affected literary writers, the act of writing, and writers plots, characters, literary devices, and stories from 1964 to 1984. The book includes numerous examples of how specific authors thought about, wrote about, experimented with, and used early word-processing machines. (Publishers Weekly 2016-04-22) Track Changes is delightful, magisterial, and instantly essential. Kirschenbaum unimpeachably delivers on his promise to give an account of word processing in all its wonderful messiness and complication. In his lively attention to storytelling, Kirschenbaum offers an account that brims over with interest and surprise. (Matthew Battles, author of The Library An Unquiet History and Palimpsest A History of the Written Word) Track Changes is a revelation. Through careful documentation of the relationships between dozens of popular writers and their respective hardware and software, Kirschenbaum brings the materiality of contemporary writing into sudden, startling focus. After reading this book, you will never be able to ignore your keyboard again. (Darren Wershler, author of The Iron Whim A Fragmented History of Typewriting) Key to the success of Track Changes is Kirschenbaums knack of drawing out the relationship between writers and how they adopted, and adapted to, the new toolsIn many respects this book is an engaging, extended love letter to the word processorbut it is much more than that. It is an impressively researched record of a radical, perhaps uniquely creative, chapter in the often turbulent relationship between technology and the written word. (John Gilbey Times Higher Education 2016-05-26) [An] unexpectedly engaging history of word processing. (Brian Dillon The Guardian 2016-07-02) Eye-openingI found the book enlarged my sense of what had occurred during the course of my adult literary career. (Lucy Ferriss Chronicle of Higher Education 2016-06-01) About the Author Matthew G. Kirschenbaum is Associate Professor of English at the University of Maryland, College Park.

Author: Alexander Leggatt File Type: epub First published in 2001, this is an accessible, wide-ranging and informed introduction to Shakespeares comedies and romances. Rather than taking each play in isolation, the chapters trace recurring issues, suggesting both the continuity and the variety of Shakespeares practice and the creative use he made of the conventions he inherited. The first section puts Shakespeare in the context of classical and Renaissance comedy and comic theory, the work of his Elizabethan predecessors and the traditions of popular festivity. The second section traces a number of themes through Shakespeares early and middle comedies, dark comedies and late romances, establishing the key features of his comedy as a whole and illuminating particular plays by close analysis. Individual chapters draw on contemporary politics, rhetoric, and the history of Shakespeare production. Written by experts in the relevant fields, the chapters frequently challenge long-standing critical assumptions. **Review 13 essays of high quality... Bibliotheque dHumanisme & Renaissance Book Description This is an accessible, wide-ranging and informed introduction to Shakespeares comedies and romances. Rather than taking each play in isolation, the chapters trace recurring issues, suggesting both the continuity and the variety of Shakespeares practice and the creative use he made of the conventions he inherited. The first section places Shakespeare in the context of classical and Renaissance comedy, his Elizabethan predecessors and the traditions of popular festivity. The second section traces themes through Shakespeares early and middle comedies, tragicomedies and late romances, illuminating particular plays by close analysis.