[I878.Ebook] Download Framing Faust: Twentieth-Century Cultural Struggles, by Inez Hedges

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In this interdisciplinary cultural history that encompasses film, literature, music, and drama, Inez Hedges follows the thread of the Faustian rebel in the major intellectual currents of the last hundred years. She presents Faust and his counterpart Mephistopheles as antagonistic—yet complementary—figures whose productive conflict was integral to such phenomena as the birth of narrative cinema, the rise of modernist avant-gardes before World War II, and feminist critiques of Western cultural traditions.

Framing Faust: Twentieth-Century Cultural Struggles pursues a dialectical approach to cultural history. Using the probing lens of cultural studies, Hedges shows how claims to the Faustian legacy permeated the struggle against Nazism in the 1930s while infusing not only the search for socialist utopias in Russia, France, and Germany, but also the quest for legitimacy on both sides of the Cold War divide after 1945.

Hedges balances new perspectives on such well-known works as Thomas Mann’s Dr. Faustus and Jack Kerouac’s Dr. Sax with discussions of previously overlooked twentieth-century expressions of the Faust myth, including American film noir and the Faust films of Stan Brakhage. She evaluates musical compositions—Hanns Eisler’s Faust libretto, the opera Votre Faust by Henri Pousseur and Michel Butor, and Alfred Schnittke’s Faust Cantata—as well as works of fiction and drama in French and German, many of which have heretofore never been discussed outside narrow disciplinary confines.

Enhanced by twenty-four illustrations, Framing Faust provides a fascinating and focused narrative of some of the major cultural struggles of the past century as seen through the Faustian prism, and establishes Faust as an important present-day frame of reference.

• Sales Rank: #3067801 in Books
• Brand: Brand: Southern Illinois University Press
• Published on: 2009-03-10
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.30" w x 6.00" l, .80 pounds
• Binding: Paperback
• 262 pages

Features

• Used Book in Good Condition

About the Author

Inez Hedges is a professor of French, German, and cinema studies at Northeastern University, where she codirects the Program in Cinema Studies. She is the author of Languages of Revolt: Dada and Surrealist Literature and Film and Breaking the Frame: Film Language and the Experience of Limits and has published numerous scholarly essays and book chapters.

Most helpful customer reviews

6 of 6 people found the following review helpful.
Faust's Praxis
By Robin M. Latimer
Hedges' history as a scholar has been intimately connected to European critical traditions, but she avers that she is writing for lay and scholar (in true Faustian divided manner) and keeps the promise (unlike most of the Mephistopheles she unearths). She leaves no concept unturned, however, and demonstrates again what has always been her strength: close, meticulous reading of literary and visual texts with a consistent reference to their mythical and topical elements.

Her analytical work is as good as that of Czeslaw Milosz, though her style is much more journalistic and demure than his.

The message of the book is that mining the prime cultural narrative of Faust and Mephistopheles is worthwhile, a quiet message but intensely valuable for those interested in the concept that dialogues in culture about culture can create culture. Hedges offers the reader the chance to investigate with her the broadest framework for cultural progress that she has been able to find in her intellectual journey. This book is a gifted scholar's gift. I find it can read quickly or slowly, an awesome quality indeed.

I have permitted this book to alter some of my thinking and teaching and recommend that others in the humanities (and other fields) do so as well.

0 of 0 people found the following review helpful.
Experiencing History through the Lens of Art
By Busy Buyer
Professor Hedges is a uniquely knowledgeable purveyor and analyst of film from its early onset to its latest technical and artistic transformations. This aid, it behooves one to pick up her more recent publications as well.

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[Z786.Ebook] Fee Download No Longer Human, by Osamu Dazai

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The poignant and fascinating story of a young man who is caught between the breakup of the traditions of a northern Japanese aristocratic family and the impact of Western ideas.

Portraying himself as a failure, the protagonist of Osamu Dazai's No Longer Human narrates a seemingly normal life even while he feels himself incapable of understanding human beings. Oba Yozo's attempts to reconcile himself to the world around him begin in early childhood, continue through high school, where he becomes a "clown" to mask his alienation, and eventually lead to a failed suicide attempt as an adult. Without sentimentality, he records the casual cruelties of life and its fleeting moments of human connection and tenderness.

• Sales Rank: #11527 in Books
• Brand: New Directions Publishing Corporation
• Published on: 1973-01-17
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .60" w x 5.30" l, .45 pounds
• Binding: Paperback
• 177 pages

Features

• New Directions Publishing Corporation

Review
"The novel has a timeless quality: The struggle of the individual to fit into a normalizing society remains just as relevant today as it was at the time of writing." ---The Japan Times

From the Back Cover
This story tells the poignant and fascinating story of a young man who is caught between the breakup of the traditions of a northern Japanese aristocratic family and the impact of Western ideas.

About the Author
Osamu Dazai (1909-1948) was a 20th century Japanese novelist.

Most helpful customer reviews

9 of 9 people found the following review helpful.
Dazai's exceptional personal look at depression in post-war Japan
By Zachary
This is one of the most famous books in Japanese literature, and for good reason. It's an in-depth and very personal look at one man's neurosis; it is widely assumed to be Dazai's fictionalized autobiography (think of a more antiquated version of Philip K. Dick's VALIS, replacing some of the schizoid delusions and hallucinations with deep despair and depression).

I won't just summarize the book, because Amazon already has a short summary. I will recommend it to anyone who struggles to understand depression, trauma, alcoholism, and suicide. On the flip side, if those things upset or distress you you may not wish to read this. It is an excellent example of how depression can feel, how it breaks a person down, how a man can feel completely useless in society, and how some people can choose to face these things in ways that others don't understand.

It's an important and powerful work both as a look into the psychology of one man and as a cultural touchstone for post-war Japan. Oda, the narrator and stand-in for Dazai himself, is from an aristocratic background and faces all of the pressure and expectations associated with the Japanese high culture. To complicate this, Oda himself is deeply depressed from a young age and is unable to connect with others or to even develop a sense of humanity.

Physically, the copy I received was in great shape, and the build quality is nice. The cover design is almost violently pink and the pages are a decent weight for a paperback. Bizarrely, the text is set in what appears to be a boldface font for the majority of the book. This may annoy some readers.

Overall, I think this is an intriguing and powerful work that would appeal to people interested in historic, personal examples of depression and abnormal psychology or developing a deeper appreciation for Japanese culture through literature.

1 of 1 people found the following review helpful.
It is a sorrowful life for the reader to watch play out because it seems to be one where potential for a better life may be poss
By Sarah
This book is an inside look at depression and its perpetuation in one man’s life. Littered with cultural glimpses of post-war Japan, the book serves as an insightful piece to Japanese society of that time period as well as an insight to Yozo Oda’s psychology. The form of the narrative is a memoir of Yozo’s life which is an, almost, autobiography of the author Osamu Dazai. Because it has many autobiographical aspects into his own life, Dazai is able to poignantly capture and articulate the inner difficulties and turmoil of this man who has a underlying spirit, desperate to relate to the society around him but is incapable due to his personal inability and alienating and unique thoughts, views, and perspectives on himself and his surroundings in life.
The narrative begins with Yozo as a child and carries reader all the way through to his adulthood. Infiltrated with darkness and self-deprecation, he tries to find escapes and assuage his inner pain with jesting antics, alcohol, drugs, women, and even suicide. His life is suppressed by the staggering feeling of the inability to understand his fellow man and even more incapable of relating to them. His alienation is largely self-inflicted because of its deeply rooted internalization. It is a sorrowful life for the reader to watch play out because it seems to be one where potential for a better life may be possible around every corner, but the self-deprecating dark spirit within him overpowers his ability to see it otherwise. With any small glimmer of hope, the reader gets to watch it be shattered and is downcast at this outcome. Takaichi sees through his ploy of hiding behind his jester-like antics and being found out internally terrifies him to a breaking point. This is his only true friend in the story. Yozo finds that even having a wife is not the saving grace for pulling him from his self-alienating perspective of his place in life and personal depression.
There is no resolution to this book but leaves one lost with his or her own self-reflection and thoughts. Throughout the novel, I found myself rooting for him, wanting him to turn a corner with more than a mere glimpse of pleasantness in his place in the world, but that dream never came to fruition. It is well-written in its ability to make one identify or unidentify with what Yozo experiences. Quirky, did not trust people. His way of seeing the world is interesting and allows the reader to understand more and more his reality of feeling alienated to the more normal ways of society.

1 of 1 people found the following review helpful.
Not the best Japanese story I have read, but worth reading
By Amazon Customer
Although I was not immediately engaged in Osamu Dazai’ novel No Longer Human, my interest increased as the narrator, Yozo Oba, described his affinity to use comedy to hide his true self. His “true self” is fearful, embarrassed, lonely, and disconnected from society. Yozo has little to no friends, but is able to make vague connections when it comes to hiding his “true self”. Yozo’s development is a downward spiral of unhappy relations with women, excessive drinking, drug abuse, attempts at suicide and finally a label that verifies that Yozo is no longer human.
The plot unfolded slowly, while chronologically revealing Yozo’s deepening depression through his involvement with various women and a drinking friend, Hiroki. Hiroki is someone tolerated by Yozo for passing his unhappy days in a bottle of gin. Yozo’ only real connection to another human being is with Takeichi, a child classmate. Takeichi discovered Yozo’s intent for comedy and Yozo, out of fear, begins to associate with Takeichi on a slightly more personal level. This friendship, however, does not last after graduation. The dynamics of Yozo’s relationship with various women sometimes offer hope for a twist in the story. However, every relationship ends with a steeper fall into depression and drinking. One liaison ends with a failed double suicide, reminiscent of the author’s own life. Finally, I was offered some hope when Yozo encountered the innocent Yoshiko. Yoshiko, a seventeen-year-old, trusting girl becomes Yozo’s wife. Her faith in him is still not enough to brighten his morbid outlook toward humanity.
This is the first of Dazai’s works which I have read. I found his themes of solitude, guilt, and decadence as universal themes. Yozo’s comical facade, Hiroki’s haughty attitude, and even Yoshiko’s unyielding trust are all masks they wear to hide their own disconnectedness. Many times in the novel Yozo questions God and his own existence. There is little symbolism in the novel. The structure is a continuous story told in the first person point of view. It almost reads like a biography of a psychologically disturbed person. Other than the mention of kimonos and locations in Japan, the story could have taken place anywhere. There were many references to western literature and culture.
As for my opinion of the work, I found it unsatisfying until the epilogue. After reading the epilogue, I understood how others could see Yozo as “an angel”. He was so desperate to feel like a human being that most of his actions were in service of someone else. The only statement in the book that really struck me as profound is when Yozo asked himself “What is society but an individual?”. If society won’t approve of something, does that make it wrong? I think this statement hit me so hard because I could apply it to my own life. Would I, in the 1940’s, been considered an outcast? How many individuals does it take to make a society that will judge who is upstanding and who is… No Longer Human?

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[P868.Ebook] Download Ebook Hotel Front Office: Operations and Management (Oxford Higher Education), by J.R. Tewari

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Hotel Front Office is a comprehensive textbook specially designed to meet the needs of undergraduate degree/diploma students of hotel management and hospitality courses. It explores the core concepts of front office operations and management and uses numerous examples, photographs, flowcharts, formats, and illustrations to explain them.

Divided into three parts, the first part on The Hospitality Industry gives an introduction to the hospitality industry and then acquaints the readers with the classification and organization of hotels. The second part on Front Office Operations explains front office organization, internal and external communication and room tariff. The guest cycle, which includes the stages of pre-arrival (reservation), arrival (registration), stay (guest services), and departure (check out and settlements), is explained in detail. This section also includes chapters on front office accounting, night auditing, safety and security of guests, and computer applications in front office. The final section on Front Office Management imparts an understanding of the key managerial concepts like yield management and forecasting to help generate optimum revenue; evaluation of hotel performance; and preparation of budgets. Contemporary issues like human resource management, environment management, and total quality management are also explored in this section.

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• Sales Rank: #2135291 in Books
• Published on: 2009-08-17
• Original language: English
• Number of items: 1
• Dimensions: 7.30" h x .90" w x 9.40" l, 1.51 pounds
• Binding: Paperback
• 464 pages

About the Author
J. R. Tewari is faculty/trainer at the Babu Banarsi Das National Institute of Technology and Management, Lucknow. He has completed his MSc in Hotel Management and Masters in Tourism Management and has been teaching hotel management for the last eight years and also has industry experience. He has attended various faculty development programmes and also has been practising consultancy for establishing new hotels and restaurants.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Not meant for American motel operations
By Tess
I purchased this book as an aid to a new venture I was becoming involved in. Unfortunately, this book is written from the viewpoint of a hotel/motel owner/manager in India. The description of the book failed to mention that. I assumed it was written for use by the average American citizen. It went into great detail of monetary issues (mostly in terms of ruples, not U.S. Dollars) and spoke in depth about foreign travelers. This book was not intended for use by the average mom and pop operation in rural America.

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[R613.Ebook] Free PDF Motivation and Second Language Acquisition: The Socio-Educational Model (Language as Social Action), by Robert Gardner

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Offering a historical and empirical account, this book provides a comprehensive overview of the socio-educational model of second language acquisition. This approach to understanding motivational variables that promote success in the learning of a second or foreign language – distinguishing between language classroom motivation and language learning motivation – is a major one in the history of this field of research. Chapters include a discussion of the definition and measurement of motivation; historical foundations of the model; recent studies with the International Attitude Motivation Test Battery for English as a foreign language in different countries; the implications of the model to the classroom context; and a discussion of criticisms and misconceptions of the model. The book provides graduate students and researchers with unique coverage of this research-oriented approach as well as serving as a source book for the area. It is ideal for courses on motivation in second language learning, or as a supplemental text for research-oriented courses in applied linguistics, educational psychology, or language research in general.

• Sales Rank: #2613664 in Books
• Brand: Brand: Peter Lang International Academic Publishers
• Published on: 2010-09-16
• Original language: English
• Number of items: 1
• Dimensions: 8.90" h x .80" w x 5.90" l, 1.05 pounds
• Binding: Hardcover
• 244 pages

Features

• Used Book in Good Condition

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[N164.Ebook] Get Free Ebook Do Not Open This Book, by Michaela Muntean

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In the spirit of the bestselling classics DON'T LET THE PIGEON DRIVE THE BUS! and THE MONSTER AT THE END OF THIS BOOK comes a riotously funny, interactive picture book from a hot new team.

"Excuse me, but who do you think you are, opening this book when the cover clearly says, DO NOT OPEN THIS BOOK? The reason you weren't supposed to open this book is because it is not yet written!...You think it's easy to put words together? Hah! Now go away--I need time to think."
So begins Pig's valiant attempt to pen his masterpiece. But he is constantly interrupted by the reader who is seduced at every turn into foiling his efforts ("please go away" "please do not turn the page")--until at last we reach the final page & discover that together, Pig & the reader have indeed created a book.

• Sales Rank: #99201 in Books
• Brand: Scholastic Press
• Model: FBA-|289279
• Published on: 2006-03-01
• Original language: English
• Number of items: 1
• Dimensions: 11.50" h x 9.50" w x .75" l, 1.03 pounds
• Binding: Hardcover
• 40 pages

From School Library Journal
Kindergarten-Grade 4-After admonishing youngsters for ignoring the volume's title, a peevish pig explains that the book is not yet written, indicating a blank page and a hodgepodge of words printed on rectangle banners. Using numerous exclamation points, the author repeatedly-and rudely-tells everyone to get lost so that he can get to work. Eventually realizing that the spectators won't budge, the pig demands silence, climbs a ladder, and carefully glues and nails words to the wall, forming the beginning of a story. Unfortunately, the next page-turn blows the words around and when they settle down, they now describe a ferocious mouse that appears on the scene. And so it goes, until the exasperated porker pens an insulting tale about a giant pest, telling readers to say their names whenever there's a blank in the narrative. Then the pig declares the book completed, heads to bed, and dreams about literary accolades. The loose-lined, messy-looking cartoons in glossy, bold colors suit the text's truculent tone. Comical details include boxes of words (labeled verbs, animals, etc.) and a spider and fly that assist and poke fun at their friend. Although the story is a bit monotone and the humor stretches thin, this offering might make a lighthearted starting point for discussions of creativity and the writing process.-Joy Fleishhacker, School Library Journal
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
K-Gr. 3. In this playful send-up of the writing process, the illusion of trespassing boundaries is a big part of the fun. Recriminations ("Are you always so rude?") begin on the endpapers and continue as children penetrate deeper into what a pig character identifies as his own, in-progress book. Turning the pages appears to wreak havoc on the narrative within, as words shake loose; form new, unintended sentences; and enrage the frustrated auteur--until he discovers that the unwanted intrusions have, in the circular fashion so beloved of postmodernism, created the very story he had struggled to produce. Along with hand lettering Muntean's text, LeMaitre contributes bright, comics-style pictures that clarify the occasionally dizzying concepts (the words of the story-within-the-story, for instance, are represented on individual placards, making the constant reconfigurations easy to follow). Similarities to titles such as James Stevenson's Don't Make Me Laugh (2003) are obvious, but children will be no less enraptured by the irreverent, interactive premise and will emerge with a fresh understanding of the powerful qualities of words. Jennifer Mattson
Copyright � American Library Association. All rights reserved

Review
PW 1/9/06 Starred
Reverse psychology drives this voice-bubble monologue, whose curmudgeonly narrator-a pink pig in a purple stocking cap-implores readersnot to turn the pages. He appears on the inside flap, sniping, "Excuse me, but did you read the front cover of this book- Are you always so rude-" Next, readers interrupt him in his woodshop, where ladders, pylons and boxes of "dangerous words" and "nouns" suggest a work in progress. "The reason you weren't supposed to open this book is because it is not yet written," he frowns, as disorganized scraps flutter about, each labeled with a single word like instant-poetry refrigerator magnets. The pig sneakily gets revenge by wondering, "What's your name-" and begging for participation in a fill-in-the-blanks rubric ("There once was a giant pest named _____.... It did not matter how many times _____ was asked togo away , _____ would not go"). Muntean makes sure he protests too much, daring readers to press their luck, and Lemaitre (the Who's Got Game- series) provides the author with tiny sidekicks-a round brown spider and violet-blue fly-who mimic his gestures and imply that he's harmless. Like Mo Willems's Pigeon books, this makes an excellent read-aloud, with abundant opportunities for hammy acting. Ages 4-8.(Mar.)

Kirkus
A determined pig scolds readers for interfering with the creative process as he labors to write a story. "You think it's easy to put words together? Hah! Now go away! I need time to think," he grouses from an upside-down yoga position. As readers persist in turning the pages, he gets crosser and crosser, finally writing a story about a giant pest and inviting readers to fill in the blanks with their own names. Lemaitre's illustrations set a cartoony pig in an implied workshop filled with boxes of adverbs, nouns and "salty words," among others. As a picture of the imagination at work, it's a busy one, glue pots and rakes sharing space with bulldozers, as the author needs them. As a conceit, however, it strains somewhat to maintain interest over the course of 32 pages, Muntean's pig's sudden reconciliation to the reader-turned-character a little abrupt and inconsistent with the appealing grouchiness that's gone before. There are other stories about writing and reading stories—Allan Ahlberg's Half a Pig (2004) and James Stevenson's No Laughing, No Smiling, No Giggling (2004) come to mind—that have a little more substance to sustain the fun. (Picture book. 5-9)

Booklist
K–Gr. 3. In this playful send-up of the writing process, the illusion of trespassing boundaries is a big part of the fun. Recriminations (“Are you always so rude?”) begin on the endpapers and continue as children penetrate deeper into what a pig character identifies as his own, in-progress book. Turning the pages appears to wreak havoc on the narrative within, as words shake loose; form new, unintended sentences; and enrage the frustrated auteur–until he discovers that the unwanted intrusions have, in the circular fashion so beloved of postmodernism, created the very story he had struggled to produce. Along with hand lettering Muntean's text, LeMaitre contributes bright, comics-style pictures that clarify the occasionally dizzying concepts (the words of the story-within-the-story, for instance, are represented on individual placards, making the constant reconfigurations easy to follow). Similarities to titles such as James Stevenson's Don't Make Me Laugh (2003) are obvious, but children will be no less enraptured by the irreverent, interactive premise and will emerge with a fresh understanding of the powerful (sometimes wayward) qualities of words. –Jennifer Mattson

BCCB
Like Mo Willems' Don't Let the Pigeon Drive the Bus (BCCB 5/03), this title hinges on a prohibition, but there's a twist to this one: if you obey it, you miss the story. The book is primed for likely disobedience, however, and it reproves the refract

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By judy moore
Very good book for children

11 of 11 people found the following review helpful.
Wonderful book!
By Armchair Interviews
Pig is about to write a book and has everything ready in his workshop. However, he is rudely interrupted by the reader and can't continue creating the story with the presence of a nuisance who simply won't leave him alone. So the pig decides to include the disturber in the story and try to get the book written anyway.

What comes out of the collaboration is a fun and entertaining book. It teaches you how the words work and what happens when you are not careful with them. The illustrations complete the story and make you laugh all the way to the end.

What I really liked about the book was the simplicity and originality of the idea. Now that you have opened the book, when you clearly were told not to, you are in for some big family laughs. My daughter and I really enjoyed this book.

Armchair Interviews says a great book for children of all ages--if they can learn to use words more effectively

7 of 7 people found the following review helpful.
Quite amusing.
By Robert Beveridge
Michaela Muntean, Do Not Open This Book! (Scholastic, 2006)

A cute little book, this is, that not only gives youngsters a picture of the writing process (and some of its more cantankerous denizens), but also carries a subtext about the care with which a person should choose words-- a lesson which the next generation will be in dire need of learning, given how the generation above it seems completely incapable of same.

Our protagonist here is a pig who's trying to write a book, but his audience keeps messing things up by turning the pages. It's possible that very young children may get bored-- this is very much a one-trick pony-- but the story is sufficiently short that that shouldn't happen. And there is a great deal for kids to think about here, and for parents to talk to kids about after they've had a chance to ponder. A fun book with which to explore options with your budding writer. *** �

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