Shanay Bansal, a young and successful entrepreneur, is looking forward to his engagement with Afsana Agarwal. But a few weeks before the engagement, he receives a mysterious voice message from someone from Afsana's past. Curious, Shanay plays the voice message and through those many other such messages, a different world from the past opens up about a beautiful relationship that got broken due to a terrible lie. Half Torn Hearts is a coming-of-age tale of three layered individuals coming in terms with their first loss, which bares the devil that we all possess but are scared of encountering and which eventually becomes the cause of our own ruins.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding truths by which to define the permanent meaning of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of irony as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the Old and New Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
Annotation A critique of high modernism from a newly formulated Marxist perspective, achieved through analyses of texts by Marx and Adorno, Manet's paintings, and the works of several Latin American writers. Annotation(c) 2003 Book News, Inc., Portland, OR (booknews.com).
DEVILRY is a 600 Page Book of Secrets featuring the entire collection of independent publications from Daniel Madison, from 2000 to 2020. This final 2019 'redemption' edition of Madison's work contains 27 chapters and an astonishing 400 Deceptions, Magic Tricks and Sleight-of-Hand techniques with a deck of playing cards. This is Madison's entire lifetime body-of-work, completely updated page-by-page to include recent publications including Anglezero, Rock Bottom and 52 by MADISON. Riddled with groundbreaking, revolutionary and proven reputation-making material, including everything that has been in Madison's repertoire and everything that he devised whilst consulting for the biggest names in the world of Magic. This is Madison's Bible, this is the one and only book that Madison's students need for complete devotion and training in the Deceptive Arts from the master himself. This IS Daniel Madison, this is DEVILRY.
A reexamination of key Frankfurt School thinkers—Benjamin, Adorno, Horkheimer, Marcuse—in the light of contemporary theory and cultural studies across the disciplines, Rethinking the Frankfurt School asks what consequences such a rethinking might have for study of the Frankfurt School on its own terms. Ironically, contemporary theorists find themselves turning back toward the Frankfurt School precisely for the reasons it was once scorned: for a notion of subjects whose desires are less liberated and multiplied than they are produced and regulated by a far-reaching, very-nearly totalizing global culture industry. Indeed, as new questions concerning globalization and economic redistribution emerge, while analyses of identity politics and subjective transgression become less central to contemporary theory and cultural studies, the future of the Frankfurt School looks as promising and productive as its past has proven to be.
This guide helps readers to engage with the major critical debates surrounding literary modernism. A judicious selection of key critical works on literary modernism Presents a critical history from the earliest reviews to the most recent theoretical assessments Shows how modernist writers understood and constructed modernism. Shows how succeeding generations have developed those constructions and brought new interpretations to bear on the subject Discusses how modernism relates to modernity and odernization, and to other literary and cultural movements Texts have been selected for their relevance to the questions surrounding modernism, and for their accessibility to readers with a limited knowledge of the modernist canon Includes a glossary and an annotated bibliography.
Lectures on art, Marxism, and critical theory by the legendary philosopher, collected for the first time, with an afterword by Martin Jay Marxist Modernism is a comprehensive yet concise and conversational introduction to the Frankfurt School. It is also a new resource from one of the twentieth century’s most important philosophers: Gillian Rose. Her 1979 lectures on the Frankfurt School explore the lives and philosophies of a range of the school’s members and affiliates, including Adorno, Lukács, Brecht, Bloch, Benjamin, and Horkheimer, and outline the way each theorist developed Marx’s theory of commodity fetishism into a Marxist theory of culture. Edited by Robert Lucas Scott and James Gordon Finlayson
This book explores post-communist thresholds as materializations of a specific crisis of modern European identity that was caused by the existence and sudden breakdown of Soviet-type communism. It shows how post-communist thresholds emerge where relics from the communist experience continue disrupting the routines and rhythms of a modern life and confront Europeans with cultural experiences, affects and material realities of the ‘enlightened world’ which they usually seek to repress or ignore. In exploring and writing through art projects which engage with the psychosocial fabric of such post-communist thresholds, this book finds ways of speaking and thinking through these transitory and paradox sites, and asks what we can say about other or new worlds, about new beginnings and endings as well as about decolonial and ethical ways of relating to the other when assessing the status quo of European modernity from within its liminal and crisis-driven sphere.
Modernist poems are some of the twentieth-century's major cultural achievements, but they are also hard work to read. This wide-ranging introduction takes readers through modernism's most famous poems and some of its forgotten highlights to show why modernists thought difficulty and disorientation essential for poetry in the modern world. In-depth chapters on Pound, Eliot, Yeats and the American modernists outline how formal experiments take on the new world of mass media, democracies, total war and changing religious belief. Chapters on the avant-gardes and later modernism examine how their styles shift as they try to re-make the community of readers. Howarth explains in a clear and enjoyable way how to approach the forms, politics and cultural strategies of modernist poetry in English.
This book examines the intellectual contribution made by Frankfurt School Critical Theory to our understanding of modern life. Thematically organized and offering a strong mix of historical and contemporary material, it considers the work of both the first and second generation. While the work of the latter is often taken to exceed that of the former, the author suggests that insights gleaned by both, regarding the human subject, offer a significant alternative to post-modern ideas.
