Author: Paul A. Schroeder File Type: pdf First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company. **span background- (240, 240, 240)Brief Biography of Tomas Guitierrez Aleaspanspan background- (240, 240, 240)spanp box-sizing border-box margin 1em (15, 15, 15) Open Sans, serif 14px font-style normal 400 letter-spacing normal orphans 2 text-align start text-indent text-transform none white-space normal widows 2 word-spacing -webkit-text-stroke-width span background- (240, 240, 240)The films of Cuban filmmaker Tomas Gutierrez Alea give insight into how the Cuban revolution that had inspired so many people all over the world had come to a crisis. His films always defined the limits of expression in revolutionary Cuba.Unlike any other Cuban filmmaker, Alea was able to retain a sophisticated balance between his dedication to the revolution and his critical judgement of it when its ideals had been betrayed.spanp box-sizing border-box margin 1em (15, 15, 15) Open Sans, serif 14px font-style normal 400 letter-spacing normal orphans 2 text-align start text-indent text-transform none white-space normal widows 2 word-spacing -webkit-text-stroke-width span background- (240, 240, 240)Throughout his career, Alea constantly upheld his personal vision and never put his critical eyes to rest. To view and study Aleas films is to see revolutionary Cuba through the eyes of the island nations most important and consistently critical filmmaker, says Paul Schroeder.Whats more, the lively and complex ways Aleas films depict life in revolutionary Cuba defeat the stereotype of communist art as dull propaganda. In films such asem box-sizing border-box font-style italicDeath of a Bureaucratspanspan(1966),em box-sizing border-box font-style italicMemories of Underdevelopmentspanspan(1968) andem box-sizing border-box font-style italicGuantanameraspanspan(1994), Alea describes life in Cuba in subtle, often comic ways. Artistically and intellectually, the trajectory of Cuban cinema from cinema verite to experimentalism, and from neorealist drama to social comedy has paralleled the trajectory of Aleas directorial career. Similarly, Aleas films are a primary source of cultural politics in revolutionary Cuba, a fact that allows one to study his films directly against the political climate in which he lived and worked. Through his films, Alea focused on speaking frankly about the course of Cuban revolution and its effect on the future of Cuba. From his first feature film,em box-sizing border-box font-style italicStories of the Revolution(1960), to his last,em box-sizing border-box font-style italicGuantanameraspanspan(1994em box-sizing border-box font-style italic), Alea was able to explore his own complicated relationship with Cuban revolution while working within the system, he always criticised its shortcomings, insisting on public discourse.span

Author: Anna Frajlich File Type: pdf For poets throughout the world Rome was the world. This is particularly true for Russian poets, owing to the anagrammatical relation of the words Rome and mir (Rome and world). The legacy of ancient Rome has always constituted an important component of the Russian cultural consciousness. The revitalization of classical scholarship in nineteenth-century Russia and new approaches to antiquity prompted many of the Russian Symbolists to seek their inspiration in ancient Rome. Vladimir Solovyov, Dmitry Merezhkovsky, Valery Bryusov, Vyacheslav Ivanov, Maksimilian Voloshin, Vasily Komarovsky, and Mikhail Kuzmin all made significant contributions to what is often referred to as the Roman text. The Legacy of Ancient Rome in the Russian Silver Age analyzes the forms involved in creating the Roman image and explores its functionality within the given poetic system. In addition to the formal analysis, the background and the stimulus leading up to the composition of a particular poem are explored, as well as allusions to legends, myths and Romes geography and architecture. Moreover, this study considers the function of the Roman text in Russian Symbolist poetics and the works of the individual poets. Finally, the relation between the Roman and Petersburg texts of Russian literature is explored, since many of the Russian Symbolist poets found in Rome a perfect metaphor for their studies of the city and urban poetry.

Author: Michael Holquist File Type: pdf Holquists masterly study draws on all of Bakhtins known writings providing a comprehensive account of his achievement. Widely acknowledged as an exceptional guide to Bakhtin and dialogics, this book now includes a new introduction, concluding chapter and a fully updated bibliography. He argues that Bakhtins work gains coherence through his commitment to the concept of dialogue, examining Bakhtins dialogues with theorists such as Saussure, Freud, Marx and Lukacs, as well as other thinkers whose connection with Bakhtin has previously been ignored.Dialogism also includes dialogic readings of major literary texts, Mary Shelleys Frankenstein, Gogols The Notes of a Madman and Fitzgeralds The Great Gatsby, which provide another dimension of dialogue with dialogue.ReviewHolquist is an exceedingly thoughtful interpreter of Bakhtin ... Dialogism will certainly be welcomed by all those many readers fascinated by the many faces of Mikhail Bakhtin. - Slavic and East European JournalWith only two comprehensive accounts of Bakhtins contributions available in the West ... Holquists attempt to provide a contextualized summary of Bakhtins work is a formidable accomplishment in its own right, resulting in a volume that will be of interest for those seeking a unified, general understanding of Bakhtin. - Discourse StudiesAbout the AuthorMichael Holquist is Professor of Comparative and Slavic Literature at Yale University. He is the author of Dostoevsky and the Novel and Mikhail Bakhtin (with Katerina Clark), and has also edited three collections of Bakhtins writings.

Author: Bernard Stiegler File Type: pdf In 1944 Horkheimer and Adorno warned that industrial society turns reason into rationalization, and Polanyi warned of the dangers of the self-regulating market, but today, argues Stiegler, this regression of reason has led to societies dominated by unreason, stupidity and madness. However, philosophy in the second half of the twentieth century abandoned the critique of political economy, and poststructuralism left its heirs helpless and disarmed in face of the reign of stupidity and an economic crisis of global proportions. New theories and concepts are required today to think through these issues. The thinkers of poststructuralism Lyotard, Deleuze, Derrida must be re-read, as must the sources of their thought, Hegel and Marx. But we must also take account of Naomi Kleins critique of Milton Friedman and the Chicago School and her account of the shock doctrine. In fact, argues Stiegler, a permanent state of shock has prevailed since the beginning of the industrial revolution, intensified by the creative destruction brought about by the consumerist model. The result has been a capitalism that destroys desire and reason and in which every institution is undermined, above all those institutions that are the products par excellence of the Enlightenment the education system and universities. Through a powerful critique of thinkers from Marx to Derrida, Stiegler develops new conceptual weapons to fight this destruction. He argues that schools and universities must themselves be transformed new educational institutions must be developed both to take account of the dangers of digitization and the internet and to enable us to take advantage of the new opportunities they make available.**