Search results for "john meisel"
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Counterrevolution
The flow and counter flow of revolution and counterrevolution have become the norm of the twentieth century. In this fascinating and well-rounded volume, the author illuminates the revolutionary process as it has developed from antiquity to the present day, from the vantage points of political science, history, and sociology. Meisel's work is presented in the form of twelve absorbing episodes in the history of Western civilization. His remarkable for the detail with which he approaches a subject often difficult to define and even more difficult to explain. He suggests a new and highly useful perspective of history by viewing it as a process of revolution and counterrevolution and their transitional stages. As it is the nature of revolutions to fall short of their objectives and to enjoy only a brief heyday that becomes the stereotype accepted by posterity, the author emphasizes their antithetical closing phases--whose lessons posterity tends to forget. Meisel's belief is that second-echelon figures teach us more about the natural process of revolution than the atypical "men of destiny," and he illustrates his account with many portrayals of comparative unknowns who lived through all the stages of revolution and counterrevolution. But revolutions can also be aborted or be preceded by counterrevolutions, as Meisel demonstrates by enlightening analyses of Mussolini's coup d'utat, the origins of the Spanish Civil War, and General de Gaulle's defeat of a potential army insurrection in behalf of French Algeria. In this profound and wide-ranging work, Meisel achieves an admirable balance between theory, action, and biography. The result is a unique survey of revolutionary history, in which a sophisticated thinker provides on almost every page a deepening understanding of the problems of revolution for the scholar and student of political processes, political theory, and comparative politics. The reader with a lively interest in the modus operandi of history will also find this book compelling reading.
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Myth of Popular Culture
The Myth of Popular Culture In this fascinating examination of popular culture, esteemed cultural critic Perry Meisel shatters conventionally held notions about the division between “high” and “low” culture with the provocative theory that popular culture has sustained dialectical rhythms. Meisel’s deft critical analysis of three enduring cultural traditions — the American novel, Hollywood, and British and American rock music — leads us to question the very concept of the division between “high” and “low” culture. Meisel begins his engaging discussion by refuting philosopher Theodor Adorno’s assertion that “high” culture is “dialectical” and “pop” is not, showing that popular culture does indeed have a conversation both with its sources and with cultural authority as a whole. In the final section, Meisel turns his attention to Bob Dylan, a figure who, more than any other, shows what it means to synthesize and revise all traditions — music, poetry, iconography — and transform them completely. Brilliantly conceived and clearly articulated, The Myth of Popular Culture from Dante to Dylan redefines the way in which we think about all forms of artistic expression.
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Capital as Literature
Studies of Marx, particularly of his masterwork Capital (1867), are as a rule tutelary—they attempt to explain him. Even literary readers of Marx from Raymond Williams to Fredric Jameson seek to secure Marxist tenets by means of Marxian style. ‘Capital’ as Literature: Marx Against Himself departs from this tradition by reading Capital as literary in its own right rather than as political economy with style as its filigree rather than its focus. Here Marx emerges in a different light. If literature is writing that calls whatever is settled into question, then Marx's writing is literature, not because of its revolutionary program, but because Marx's rhetoric, particularly its key trope of chiasmus, undoes the coherence of the notions it propounds, especially in Capital. Marx's chiasmatic style turns Capital into a mise en abyme and Marx's enterprise into an example of what it describes rather than its foil or antidote: the structure of capital itself. Capital, like capital, is a self-begetting production machine whose fungibility as a form is one and the same with the money economy it unravels. ‘Capital’ as Literature: Marx Against Himself shows how this irony unfolds and what the implications are for epistemology, cultural studies, and literary criticism.
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Antique Showtime
It's the year 2520, a time of great importance, as the world's population anticipates the return of Halley's Comet. Beginning at the Park Avenue Amory Antiques show in New York City, and ending at the Hamptons Summer Classic on Long Island, Antique Showtime traces the antics and adventures of a group of antique dealers navigating their way through an increasingly uncertain world. John Meyer, a 25 year veteran of the antique business, offers an incredibly insightful, yet humorous, account of the trade. On top of that, he weaves in a murder mystery, a love story and philosophical Taoist musings. Despite the futuristic setting, Meyer shows that human nature remains the same throughout the ages. Anyone who has ever visited an antique show, or better yet worked at one, will revel in the novel's hilariously eccentric characters and situations, For those who haven't, let John Meyer be your insider guide to the weird and wild world of the antique-show business.
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Property and Protection
This collection of essays is dedicated to Brian Harvey,the retired Professor of Property Law at the University of Birmingham. The contributions reflect his eclectic interests and bring new insights to issues of property law, both real and personal, consumer protection, auction sales and tax. Historical, human rights, public law, European Community and international aspects are addressed in addition to persistent domestic conveyancing concerns. Contributors: Peter Cook, David Feldman, Jonathan Harris, Tim Kaye, Jeremy McBride, Frank Meisel, Norman Palmer, Deborah Parry, David Salter, Carla Shapreau, John Stevens, Mark Thompson, Nick Wikeley and John Wylie.
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Criticism After Theory from Shakespeare to Virginia Woolf
The argument of this book is a simple one: that criticism after theory is a single movement of thought defined by synthesis and continuity rather than by conflict and change. The most influential figures in criticism since Saussure—Bakhtin, Derrida, and Foucault—are wholly consistent with Saussure's foundational Course in General Linguistics (1916) no matter the traditions of complaint that have followed in Saussure's wake from Bakhtin forward. These complaints vitiate—despite themselves and often hilariously so—the misconceptions that have made cottage industries out of quarrels with Saussurean semiology that are based on notions of Saussure that are incorrect. The materialist criticism dominant today is actually dependent upon on the legacy of a presumably formalist structuralism rather than a step beyond it. New Historicism, postcolonialism, gender studies, environmental criticism, archive studies, even shared and surface reading are, like deconstruction, the by-products of Saussure's structuralism, not its foils. Saussure's sign is sensory and concrete. Language and materiality are not distinct but one and the same—history, society, the psychological subject, even the environment are systems of signs, material archives read and reread by futures that produce the past after the fact. Without Saussure, contemporary criticism would have no identifiable or effective source. The book begins with chapters on Saussure and Derrida, Bakhtin and Shakespeare, and Freud and Foucault followed by chapters on Victorian and American fiction, D.H. Lawrence and modern poetry, Virginia Woolf and Melanie Klein, and the historicist tropology of psychoanalysis. It concludes with a coda in life writing on the author's epileptic disability.
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Literary Freud
In this book, Perry Meisel argues that Freud's texts are properly literary, and casts Freud as both literary theoretician and practitioner. Here, after an introductory reception history of Freud as literature, Meisel provides a series of close readings of Freud's major texts that take literary representation as their central focus. As for Freud's influence on others, it, too, is structured like a literary history, argues Meisel. He discusses Freud's influence on modernism, Strachey's Standard Edition (once again the subject of debate with the recent Penguin retranslations), and Freud's influence on Michel Foucault. Finally, we explore the relationship of Freud and literature. Does an understanding of how Freud himself writes and influences help us to read literature and interpret it anew?
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How Plays Work
Why are readers who are generally at home with narrative and discursive prose, and even readily responsive to poetry, far less confident and intuitive when it comes to plays? The complication lies in the twofold character of the play as it exists on the page - as a script or score to be realized, and as literature. Martin Meisel's engaging account of how we read play plays on the page shows that the path to the fullest imaginative response is an understanding of howplays work. What is entailed is something like learning a language - vocabulary, grammar, syntax - but learning also how the language operates in those concrete situations where it is deployed.Meisel begins with a look at matters often taken for granted in coding and convention, and then - under 'Beginnings' - at what is entailed in establishing and entering the invented world of the play. Each succeeding chapter is a gesture at enlarging the scope: 'Seeing and Hearing', 'The Uses of Place', 'The Role of the Audience', 'The Shape of the Action', and 'The Action of Words'. The final chapters, 'Reading Meanings' and 'Primal Attractions', explore ways in which both the drive forsignificant understanding and the appetite for wonder can and do find satisfaction and delight. Cultivated in tone and jargon-free, How Plays Work is illuminated by dozens of judiciously chosen examples from western drama - from classical Greek dramatists to contemporary playwrights, both canonical and relatively obscure. It will appeal as much to the serious student of the theatre as to the playgoer who likes to read a play before seeing it performed.
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University and the Global Knowledge Society
How the university went global and became the heart of the information ageThe university is experiencing an unprecedented level of success today, as more universities in more countries educate more students in more fields. At the same time, the university has become central to a knowledge society based on the belief that everyone can, through higher education, access universal truths and apply them in the name of progress. This book traces the university's rise over the past hundred years to become the cultural linchpin of contemporary society, revealing how the so-called ivory tower has become profoundly interlinked with almost every area of human endeavor.David John Frank and John Meyer describe how, as the university expanded, student and faculty bodies became larger, more diverse, and more empowered to turn knowledge into action. Their contributions to society underscored the public importance of scholarship, and as the cultural authority of universities grew they increased the scope of their research and teaching interests. As a result, the university has become the bedrock of today's information-based society, an institution that is now implicated in the solution to every conceivable problem.But, as Frank and Meyer also show, the conditions that helped spur the university's recent ascendance are not immutable: eruptions of nationalism, authoritarianism, and illiberalism undercut the university's universalistic and rationalistic premises, and may threaten the centrality of the university itself.
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NIGHTCHILD
This chilling thriller tells the story of a young girl thrown into the mysteriously terrifying world of voodoo against her own will and the life-threatening, dauntless tasks needed to save her, no matter the cost. Set against the bizarre backdrop of show business, a mother throws her young daughter into the terrifying world of voodoo as she seeks revenge on the father who adores his little girl. Caught in a frightening maze of cabalistic rites and wanton sex, her body and soul are owned by her mother, and her mind and emotions are no longer her own. Her father would destroy himself to save her, yet she is no longer a child at all, but a creature of evil, hurled into the horrifying realm of the devil himself.
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Liebe im Zeitalter der Wissenschaften vom Menschen
Der Physiker, Psychologe, Ingenieur, Offizier und Schriftsteller Robert Musil schreibt Literatur mit Herrschaftsanspruch. Er verfolgt das Ziel, in der Literatur das gesamte Wissen seiner Zeit zu konzentrieren und zu übertrumpfen. Dabei geht Musil von der Annahme aus, daß sich alle kurrenten Sprach- und Wissensordnungen beim "gesprächigsten" Thema treffen: der Liebe. Kunst wird schon beimfrühen Musil zur exakten Wissenschaft, und sein unvollendeter Roman "Der Mann ohne Eigenschaften" ist ein Spiegelbild der Welt imentropischen Verfall."(...) Perhaps the most brilliant and original comprehensive study of Musil of recent years is Gerhard Meisel's monograph of 1991. (...)"Distinguished outsider: Robert Musil and his critics, Columbia 1994
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Conquiste al enemigo llamado promedio
El autor John Mason lanza nuevamente un ataque supremo contra la mediocridad con esta secuela a su famoso libro titulado Un enemigo llamado promedio. Dividido en 52 segmentos de verdad, Conquiste al enemigo llamado promedio es una fuente de sabiduría divina, motivación bíblica y principios prácticos.
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Reconstructing the University
Current conversations on the state of academia contain a broad sense of crisis over changes in the body of university knowledge—the decline of literature, the unbridling of ethnic studies, the growth of various applied programs, and so on. Much of the concern revolves around a perceived deterioration of the academic core in which, the thinking goes, the university's teaching and research priorities are increasingly compromised by external financial and political interests. With data on faculty and course composition over the twentieth century for a global sample of universities, this book provides an examination unprecedented in scope and scale of changes in academia. The authors document the changing emphases accorded the branches of learning, the applied and basic divisions, and the disciplinary fields. They find deep transformations, as anticipated, but offer a new explanation for these shifts. Changes in academic focus are less the work of outside interest groups, but instead are cultural maps to the altering features of globally institutionalized understandings of reality.
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