Their ever-evolving popularity notwithstanding, audiobooks remain a rather undertheorized phenomenon. The prevailing handful of existing studies seem to have adopted an inherently historicist approach, which fails to identify and scrutinize their aesthetic importance. Thus, rather than regarding them as mere recorded ‘versions’ of existing literary works, this book explores them as the unique products of a hitherto undefined artistic genre. As performance-based aural artefacts, the very act of listening to them is rendered an aesthetic experience in its own right. By effectively embracing an interdisciplinary approach and introducing a set of aesthetic questions and philosophical conundrums (ignited by a paradigmatic application of the New Institutional Theory of Art), this study establishes a new aesthetic category—which, in turn, not only classifies audiobooks as artworks to all intents and purposes, but also generates the criteria and parameters for evaluating their merit. Since the proof of the proverbial pudding is purportedly in the eating, in surveying a series of concrete case studies—each highlighting different degrees of complexities—this study mainly examines first-person narratives as the most natural medium for the aesthetics of the audiobook. As such, the investigation herein provides one with comparative close listenings, appropriately analyzing and debating their aesthetic properties. Finally, in exploring what this study identifies as one’s informed intuition and its role in the craft of casting audiobooks, this study also proposes a new understating of how aesthetic appreciation works in action.
On the heavily forested planet of Lumin, the Network has slept, dormant, for over six hundred cycles. Only a select few remember that it resides beneath the crust of the planet, waiting, and for them, the battle for Lumin's future has raged in the shadows.When Mia Jayne's path crosses with an ancient volume in the Archives of the Order of Vis Firmitas, the battle moves from the shadows into the light. Compendium opens up a world of knowledge, and, for the first time since arriving at the Order, Mia has the key to reclaim the freedom she lost. To do so, she must choose between her conscience and her heart. Conceived against an ailing world of fantastical beauty where long-lost technology tips the balance between extinction and survival, Mia must remember that there is always a choice, and that makes all the difference.
Gerrard’s Legacy A collection of powerful magical artifacts is the only defense against the forces of evil that are arrayed against Dominaria. Gerrard, the heir to the Legacy, together with Sisay, captain of the flying ship Weatherlight, has sought out many parts of the Legacy. Gerrard’s Quest Sisay has been kidnapped by Volrath, ruler of the plane of Rath. Gerrard stands at a crossroads. His companion is in danger, the Legacy may be lost forever. Only he—with the loyal crew of the Weatherlight— can rescue Sisay and recover the Legacy.
A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, The Design of Everyday Things, offers a useful analytical tool in technology studies—but, Jenny Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses. The mechanisms and conditions framework shifts the question from what objects afford to how objects afford, for whom, and under what circumstances. Davis shows that through this framework, analyses can account for the power and politics of technological artifacts. She situates the framework within a critical approach that views technology as materialized action. She explains how request, demand, encourage, discourage, refuse, and allow are mechanisms of affordance, and shows how these mechanisms take shape through variable conditions—perception, dexterity, and cultural and institutional legitimacy. Putting the framework into action, Davis identifies existing methodological approaches that complement it, including critical technocultural discourse analysis (CTDA), app feature analysis, and adversarial design. In today's rapidly changing sociotechnical landscape, the stakes of affordance analyses are high. Davis's mechanisms and conditions framework offers a timely theoretical reboot, providing tools for the crucial tasks of both analysis and design.
The Myth. The Magic. Dominarian legends speak of a mighty conflict, obscured by the mists of history. Of a conflict between the brothers Urza and Mishra for supremacy on the continent of Terisiare. Of titantic engines that scarred and twisted the very planet. Of a final battle that sank continents and shook the skies. The saga of the Brothers’ War.
Is it possible to trace the footprints of the historical Sokrates in Athens? Was there really an individual named Romulus, and if so, when did he found Rome? Is the tomb beneath the high altar of St. Peter’s Basilica home to the apostle Peter? To answer these questions, we need both dirt and words—that is, archaeology and history. Bringing the two fields into conversation, Artifact and Artifice offers an exciting excursion into the relationship between ancient history and archaeology and reveals the possibilities and limitations of using archaeological evidence in writing about the past. Jonathan M. Hall employs a series of well-known cases to investigate how historians may ignore or minimize material evidence that contributes to our knowledge of antiquity unless it correlates with information gleaned from texts. Dismantling the myth that archaeological evidence cannot impart information on its own, he illuminates the methodological and political principles at stake in using such evidence and describes how the disciplines of history and classical archaeology may be enlisted to work together. He also provides a brief sketch of how the discipline of classical archaeology evolved and considers its present and future role in historical approaches to antiquity. Written in clear prose and packed with maps, photos, and drawings, Artifact and Artifice will be an essential book for undergraduates in the humanities.
Major Dick Winters of the 101st Airborne gained international acclaim when the tale of he and his men were depicted in the celebrated book and miniseries Band of Brothers. Hoisted as a modest hero who spurned adulation, Winters epitomized the notion of dignified leadership. His iconic World War II exploits have since been depicted in art and commemorated with monuments. Beneath this marble image of a reserved officer is the story of a common Pennsylvanian tested by the daily trials and tribulations of military duty. His wartime correspondence with pen pal and naval reservist, DeEtta Almon, paints an endearing portrait of life on both the home front and battlefront—capturing the humor, horror, and humility that defined a generation. Interwoven with previously unpublished diary entries, military reports, postwar reminiscences, private photos, personal artifacts, and rich historical context, Winters’s letters offer compelling insights on the individual costs and motivations of World War II service members. Winters’s heartfelt prose reveals his mindset of the moment. From stateside training to the hedgerows of Normandy, his correspondence immerses readers in the dramatic experiences of the 1940s. Via the lost art of letter writing, the immediacy and honesty of Winters’s observations takes us beyond the traditional accounts of the fabled 506th Parachute Infantry Regiment’s Easy Company. This engaging narrative offers a unique blend of personal wit, leadership ethics, and broader observations of a world at war. Hang Tough is a deeply intimate, timely reflection on a rising officer and the philosophies that molded him into a hero among heroes. Hang Tough “will help people better understand the man I knew and respected so much. Folks should know what we all went through during the war.” —Bradford Freeman, Foreword
Walk into any European museum today and you will see the curated spoils of Empire. They sit behind plate glass: dignified, tastefully lit. Accompanying pieces of card offer a name, date and place of origin. They do not mention that the objectsare all stolen. Few artefacts embody this history of rapacious and extractive colonialism better than the Benin Bronzes - a collection of thousands of brass plaques and carved ivory tusks depicting the history of the Royal Court of the Obas of BeninCity, Nigeria. Pillaged during a British naval attack in 1897, the loot was passed on to Queen Victoria, the British Museum and countless private collections. The story of the Benin Bronzes sits at the heart of a heated debate about cultural restitution, repatriation and the decolonisation of museums. In The Brutish Museums, Dan Hicks makes a powerful case for the urgent return of such objects, as part of a wider project of addressing the outstanding debt of colonialism.
It doesn't take a legendary sword to make a legendary swordsman, but it certainly helps.Keras Selyrian is already well on the way to cutting his name into the annals of legend. He's fought false divinities, thieving sorcerers, and corrupt demigods - and left them defeated in his wake. But he's a long way from home, and Kaldwyn offers a different brand of danger than he's used to.He's already got a sword of unfathomable power, but it's damaged and leaking world-annihilating mana, so he's in the market for a new one.Possibly six. The more the better, really.The Six Sacred Swords are Kaldwyn's most famous artifacts, forged as the only means to defeat the god beasts. Each sword must be earned by a worthy champion, and no single person has ever managed to collect them all.Not yet, at least.Keras is just getting started.Additional Info: Six Sacred Swords is a light-hearted fantasy adventure inspired by Japanese game series like The Legend of Zelda, Final Fantasy, and Fire Emblem. It takes place in the same universe as the Arcane Ascension novels, but years earlier and with a different protagonist. While the books are interconnected, they can be read on their own in any order
To See the Wizard: Politics and the Literature of Childhood takes its central premise, as the title indicates, from L. Frank Baum’s The Wonderful Wizard of Oz. Upon their return to The Emerald City after killing the Wicked Witch of the West, the task the Wizard assigned them, Dorothy, the Tin Woodman, Scarecrow, and Lion learn that the wizard is a “humbug,” merely a man from Nebraska manipulating them and the citizens of both the Emerald City and of Oz from behind a screen. Yet they all continue to believe in the powers they know he does not have, still insisting he grant their wishes. The image of the man behind the screen—and the reader’s continued pursuit of the Wizard—is a powerful one that has at its core an issue central to the study of children’s literature: the relationship between the adult writer and the child reader. As Jack Zipes, Perry Nodelman, Daniel Hade, Jacqueline Rose, and many others point out, before the literature for children and young adults actually reaches these intended readers, it has been mediated by many and diverse cultural, social, political, psychological, and economic forces. These forces occasionally work purposefully in an attempt to consciously socialize or empower, training the reader into a particular identity or way of viewing the world, by one who considers him or herself an advocate for children. Obviously, these “wizards” acting in literature can be the writers themselves, but they can also be the publishers, corporations, school boards, teachers, librarians, literary critics, and parents, and these advocates can be conservative, progressive, or any gradation in between. It is the purpose of this volume to interrogate the politics and the political powers at work in literature for children and young adults. Childhood is an important site of political debate, and children often the victims or beneficiaries of adult uses of power; one would be hard-pressed to find a category of literature more contested than that written for children and adolescents. Peter Hunt writes in his introduction to Understanding Children’s Literature, that children’s books “are overtly important educationally and commercially—with consequences across the culture, from language to politics: most adults, and almost certainly the vast majority in positions of power and influence, read children’s books as children, and it is inconceivable that the ideologies permeating those books had no influence on their development.” If there were a question about the central position literature for children and young adults has in political contests, one needs to look no further than the myriad struggles surrounding censorship. Mark I. West observes, for instance, “Throughout the history of children’s literature, the people who have tried to censor children’s books, for all their ideological differences, share a rather romantic view about the power of books. They believe, or at least they profess to believe, that books are such a major influence in the formation of children’s values and attitudes that adults need to monitor every word that children read.” Because childhood and young-adulthood are the sites of political debate for issues ranging from civil rights and racism to the construction and definition of the family, indoctrinating children into or subverting national and religious ideologies, the literature of childhood bears consciously political analysis, asking how socialization works, how children and young adults learn of social, cultural and political expectations, as well as how literature can propose means of fighting those structures. To See the Wizard: Politics and the Literature of Childhood intends to offer analysis of the political content and context of literature written for and about children and young adults. The essays included in To See the Wizard analyze nineteenth and twentieth century literature from America, Britain, Australia, the Caribbean, and Sri Lanka that is for and about children and adolescents. The essays address issues of racial and national identity and representation, poverty and class mobility, gender, sexuality and power, and the uses of literature in the healing of trauma and the construction of an authentic self.
