Scott Petersen started out in the attic of a Chicago bungalow on the city’s Northwest Side. He was a latchkey kid who squeaked into college because he was an Eagle Scout. From there he went on to a successful law career and a life rich with avocations and adventures. Out of that experience came Renaissance Hombre. What started as a blog is now a book as well-rounded as his life. It’s a recipe guide. A reading list. A collection of quotes (and jokes). A cultural notebook. A source of arcane information and profound inspiration. This is a reflection on a life well-spent— and a touching reflection on life itself.
Behind every awful, dangerous decision lurks one evil beast: the Cool. From politics to the personal, from fashion to food, from the campus to the locker room, the desire to be cool has infected all aspects of our lives. At its most harmless, it is annoying. At its worst, it is deadly, on a massive scale. The Cool are the termites of life, infiltrating every nook and cranny and destroying it from within. The Cool report the news, write the scripts, teach our children, run our government—and each day they pass judgment on those who don’t worship at the altar of their coolness. The cool fawn over terrorists, mock the military, and denigrate employers. They are, in short, awful people. From what we wear and what we eat, to what we smoke and who we poke, pop culture is crafted and manipulated by the cool and, to Greg Gutfeld, that's Not Cool. How do the cool enslave you? By convincing you that: - If you don't agree with them no one will like you. - If you don't follow them you will miss out on life. - If you don't listen to them you will die a lonely loser How do you vanquish the cool and discover your own true self? Read this book. In Not Cool, Greg Gutfeld, bestselling author of The Joy Of Hate, lays out the battle plan for reclaiming the real American ideal of cool--building businesses, protecting freedom at home and abroad, taking responsibility for your actions, and leaving other people alone to live as they damn well please. Not Cool fights back against the culture of phonies, elitists, and creeps who want your soul. It’s not a book, it’s a weapon—and one should be armed with it at all times.
The essential lifestyle guide for the millions of progressives on both coasts, The Nation Guide to The Nation will help left-of-center types find left-leaning shops, cultural institutions, and gathering places in their own hometowns and on the road. CULTURAL: Art collectives / activist documentaries / political circuses / film festivals / writers' colonies / left-brained bookstores / arts advocacy groups / indie book publishers / the 25 greatest political movies / detective stories for liberals SOCIAL: Organic and slow food restaurants / political saloons and bars / bookshop cafés and conversational coffeehouses / sexy singles meet-ups / reading clubs and discussion groups / camps for radical kids / parades and festivals / parks and preserves ENVIRONMENTAL: Activist groups / monkey wrenchers and sea shepherds / eco-friendly products / favorite green markets / super co-ops / eco-tourism / farm communes / energy solutions ORGANIZATIONS: Peace and anti-nuclear / feminist / GLBT / economic policy / immigrant rights / labor issues / campaign finance reform / civil liberties / radical mouthpieces / liberal think tanks MEDIA: Left-talk radio / press watchdogs / anti-corporate media / regional and local papers / alternative weeklies / a guide to the blogosphere GOODS AND SERVICES: Natural food stores / no-sweat clothing / socially conscious mutual funds / political tours / eco-beers and hemp pretzels / funeral homes and cemeteries (for a green send-off!)
To explain a text, according to Rodriguez, is to locate it precisley at a real historical conjuncture, to situate it ideologically. This insistence on the historicity of literature saved Rodriguez from the fate that, from the late 1970s onward, overtook many Althusserians. The latter, unable to historicise and therefore transcend the key category of the subject, refused to rank 'real art' among the ideologies, as a result of which their concept of literary 'production' remained locked in a Kantian- and therefore eminently bourgeois- problematic. For Rodriguez, in contrast, ideology could not be the discourse of the subject, for the simple reason that the subject was itself an historical category, whose origins were to be found in animism, the ideology of the bourgeoisie during its early, mercantilist phase. As an emergent ideology, animism stood in contradiction to substantialism, its dominant counterpart under feudalism, that manifestly had no place for a 'free subject'. The analysis of these conflictual ideologies, during the protracted transition in Spain from feudalism to capitalism, constitutes the kernel of Theory and History of Ideological Production. University of Granada.
“A must-read for a deeper understanding of a well-connected genius who enriched the cultural road map for African Americans and books about them.” — Kirkus Reviews (starred review) Amid the scholars, poets, authors, and artists of the Harlem Renaissance stood an Afro–Puerto Rican named Arturo Schomburg. This law clerk’s passion was to collect books, letters, music, and art from Africa and the African diaspora and bring to light the achievements of people of African descent through the ages. A century later, his groundbreaking collection, known as the Schomburg Center for Research in Black Culture, has become a beacon to scholars all over the world. In luminous paintings and arresting poems, two of children’s literature’s top African-American scholars track Arturo Schomburg’s quest to correct history.
Cervantes' work closely analysed for evidence of his attitude to academic life and to conversos, and his responses to technical challenges. A number of longstanding polemical issues related to Cervantes' life and creativity are closely examined here, throwing new light on his work as a whole. The book begins by exploring Cervantes' complex and ambivalent attitude towards academic life, which yielded comic portraits of students and many parodies of the academic tendencies of false praise, pedantry and pompousness. It goes on to consider the impact of the converso, or New Christian, on Spanish collective thinking, and Cervantes and Lope de Vega in particular; Old Christian versus New Christian rhetoric frequently determines the expression of such characters as Sancho Panza. An analysis of Cervantes' controversialinterpolation of stories in the first part of Don Quijote follows, and Professor Finello concludes by looking at the enigmatic discourse and dialogue of Don Quijote himself, elegant and harmonious despite the knight's apparent madness, arguing that since Quijote believes he is justified in imposing his chivalric values upon those who come into contact with him, he adjusts the situations in which he finds himself to the appropriate rhetoric of literary tradition. DOMINICK FINELLO is Professor of Spanish at Rider University.
The ten essays in this volume examine the survival of Spain's once famous Classical tradition and linguistic barriers. The essays are grouped into two parts: Reception and Interpretation and Translating the Theatrical Experience.
No literary tradition in early modern Europe was as obsessed with the interaction between the native tongue and its dialectal variants, or with ‘foreign’ languages and the phenomenon of ‘translation’, as English Renaissance drama. Originally published as a themed issue of English Text Construction 6:1 (2013), this carefully balanced collection of essays, now enhanced with a new Afterword, decisively demonstrates that Shakespeare and his colleagues were far more than just ‘English’ authors and that their very ‘Englishness’ can only be properly understood in a broader international and multilingual context. Showing a healthy disrespect for customary disciplinary borderlines, Multilingualism in the Drama of Shakespeare and his Contemporaries brings together a wide range of scholarly traditions and vastly different types of expertise. While several papers venture into previously uncharted territory, others critically revisit some of the loci classici of early modern theatrical multilingualism such as Shakespeare’s Henry V.
