Specters of War looks at the way war has been brought to the screen in various genres and at different historical moments throughout the twentieth century and into the twenty-first. Elisabeth Bronfen
Specters of War looks at the way war has been brought to the screen in various genres and at different historical moments throughout the twentieth century and into the twenty-first. Elisabeth Bronfen
Since the beginning of the twenty-first century, recurring political violence at both state and non-state levels has eroded confidence in the progressively peaceful character of international relatio
This is the first comprehensive history of the war fought in New Caledonia in 1917-18, which involved the French army, mostly European settlers and Kanak. In three parts, this history addresses the ev
"Specters of Revolution examines the development of two guerrilla insurgencies led by schoolteachers in Mexico during the 1960s. Relying upon recently declassified documents and oral histories, it chr
"The 1960s represented a revolutionary moment around the globe. In rural Mexico, several guerrilla groups organized to fight against the ruling Institutional Revolutionary Party (PRI). Specters of R
Phantom Army of the Civil War compiles thirty-five tales of first-hand encounters with specters and phantoms, ghost-ridden swamps, and the eerie mansions that populate the haunted South.The stories sp
In Literature and the Politics of Post-Victorian Decadence, Kristin Mahoney argues that the early twentieth century was a period in which the specters of the fin de siècle exercised a remarkable draw on the modern cultural imagination and troubled emergent avant-gardistes. These authors and artists refused to assimilate to the aesthetic and political ethos of the era, representing themselves instead as time travellers from the previous century for whom twentieth-century modernity was both baffling and disappointing. However, they did not turn entirely from the modern moment, but rather relied on decadent strategies to participate in conversations concerning the most highly vexed issues of the period including war, the rise of the Labour Party, the question of women's sexual freedom, and changing conceptions of sexual and gender identities.
Following World War II, the world had to confront the unmournable specters of those who had been erased socially and historically. Cinematic Cryptonymies: The Absent Body in Postwar
Following World War II, the world had to confront the unmournable specters of those who had been erased socially and historically. Cinematic Cryptonymies: The Absent Body in Postwar
In The Few Things I Know About Glafkos Thrassakis, one of Greece's most prolific contemporary authors tackles the multiple specters of Greece's (and his own) past 75 years: childhood during World War
At the turn of the twentieth century Italian opera participated to the making of a modern spectator. The Ricordi stage manuals testify to the need to harness the effects of operatic performance, activating opera's capacity to cultivate a public. This book considers how four operas and one film deal with their public: one that in Boito's Mefistofele is entertained by special effects, or that in Verdi's Simon Boccanegra is called upon as a political body to confront the specters of history. Also a public that in Verdi's Otello is subjected to the manipulation of contemporary acting, or one that in Puccini's Manon Lescaut is urged to question the mechanism of spectatorship. Lastly, the silent film Rapsodia satanica, thanks to the craft and prestige of Pietro Mascagni's score, attempts to transform the new industrial medium into art, addressing its public's search for a bourgeois pan-European cultural identity, right at the outset of the First World War.
The filming of a Civil War movie forces Dave Robicheaux to confront demons that stand in the way of his salvation. When Hollywood invades New Iberia Parish to film a Civil War epic, restless specters
At the turn of the twentieth century Italian opera participated to the making of a modern spectator. The Ricordi stage manuals testify to the need to harness the effects of operatic performance, activating opera's capacity to cultivate a public. This book considers how four operas and one film deal with their public: one that in Boito's Mefistofele is entertained by special effects, or that in Verdi's Simon Boccanegra is called upon as a political body to confront the specters of history. Also a public that in Verdi's Otello is subjected to the manipulation of contemporary acting, or one that in Puccini's Manon Lescaut is urged to question the mechanism of spectatorship. Lastly, the silent film Rapsodia satanica, thanks to the craft and prestige of Pietro Mascagni's score, attempts to transform the new industrial medium into art, addressing its public's search for a bourgeois pan-European cultural identity, right at the outset of the First World War.
