Gabara argues that Brazilian and Mexican modernists deliberately made photography err: they made this privileged medium of modern representation simultaneously wander and work against its apparent perfection. They flouted the conventions of mainstream modernism so that their aesthetics registered an ethical dimension. Their photographic modernism strayed, dragging along the baggage of modernity lived in a postcolonial site. Through their “errant modernism,” avant-garde writers and photographers critiqued the colonial history of Latin America and its twentieth-century formations.
Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh’s traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession.
The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the “ethos of noh,” the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh’s professionalization—its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art.
A skeptical examination of the inclusiveness of pluralism.
How plural, really, is pluralism today? In this book a prominent political theorist reworks the traditional pluralist imagination, rendering it more inclusive and responsive to new drives to pluralization. Traditional pluralism, William E. Connolly shows, gives too much priority to past political settlements, allotments of public space and power relations already made and fixed. It deflates the politics of pluralization. The Ethos of Pluralization explores the constitutive tension between pluralism and pluralization, pursuing an ethos of politics that enables new forces of pluralization to find receptive responses in public life.
Connolly explores how contemporary drives to pluralize stir the reactionary forces of political fundamentalism and how fundamentalism generates the cultural fragmentation it purports to resist. The reluctance of traditional pluralists to address the tension between pluralism and pluralization plays into the hands of fundamentalist forces. The Ethos of Pluralization eventually ranges beyond the borders of the territorial state to explore relations between the globalization of economic life and a more adventurous pluralization of political identities. Engaging images of pluralism and nationalism advanced by Tocqueville, Schumpeter, Ricoeur, Walzer, Herz, and Kurth, Connolly draws selectively upon Nietzsche, Foucault, Butler and Deleuze to delineate an ethos of politics that makes for new identities while protecting conditions that make pluralism and governance possible.The romance genre was a popular literary form among writers and readers in the nineteenth and early twentieth centuries, but since then it has often been dismissed as juvenile, unmodern, improper, or subversive. In this study, William J. Scheick seeks to recover the place of romance in fin-de-siècle England and America; to distinguish among its subgenres of eventuary, aesthetic, and ethical romance; and to reinstate ethical romance as a major mode of artistic expression.
Scheick argues that the narrative maneuvers of ethical romance dissolve the boundary between fiction and fact. In contrast to eventuary romances, which offer easily consumed entertainment, or aesthetic romances, which urge upon readers a passive appreciation of a wondrous work of art, ethical romances potentially disorient and reorient their readers concerning some metaphysical insight hidden within the commonplace. They prompt readers to question what is real and what is true, and to ponder the wonder of life and the text of the self, there to detect what the reader might do in the art of his or her own life
The authors whose works Scheick discusses are Nathaniel Hawthorne, H. Rider Haggard, Henry James, C. J. Cutcliffe Hyne, H. G. Wells, John Kendrick Bangs, Gilbert K. Chesterton, Richard Harding Davis, Stephen Crane, Mary Austin, Jack London, Robert Louis Stevenson, Mary Cholmondeley, and Rudyard Kipling. This wide selection expands the canon to include writers and works that highly merit re-reading by a new generation.
Using material remains, as well as the evidence of contemporary Greek history, rhetoric, and poetry, David Castriota interprets the Athenian monuments as vehicles of an official ideology intended to celebrate and justify the present in terms of the past.
Castriota focuses on the strategy of ethical antithesis that asserted Greek moral superiority over the “barbaric” Persians, whose invasion had been repelled a generation earlier. He examines how, in major public programs of painting and sculpture, the leading artists of the period recast the Persians in the guise of wild and impious mythic antagonists to associate them with the ethical flaws or weaknesses commonly ascribed to women, animals, and foreigners. The Athenians, in contrast, were compared to mythic protagonists representing the excellence and triumph of Hellenic culture.
Castriota’s study is innovative in emphasizing the ethical implication of mythic precedents, which required substantial alterations to render them more effective as archetypes for the defense of Greek culture against a foreign, morally inferior enemy. The book looks in new ways at how the patrons and planners sought to manipulate viewer response through the selective presentation or repackaging of mythic traditions.
Applying the complexities of literacy development and personal ethos to the teaching of composition, Zan Meyer Goncalves challenges writing teachers to consider ethos as a series of identity performances shaped by the often-inequitable social contexts of their classrooms and communities. Using the rhetorical experiences of students who identify as lesbian, gay, bisexual, and/or transgender, she proposes a new way of thinking about ethos that addresses the challenges of social justice, identity, and transfer issues in the classroom.
Goncalves offers an innovative approach to teaching identity performance theory bound by social contexts. She applies this new approach to theories of specificity and intersectionality, illustrating how teachers can help students redefine the relationship between their social identities and their writing. She also addresses bringing social activism and identity politics into the classroom, helping writers make transfers across rhetorical contexts and linking students' interests to public conversations.
Theoretical and practical, Sexuality and the Politics of Ethos in the Writing Classroom provides teachers of first-year and advanced composition studies with useful, detailed assignments based in specific identity performance. Goncalves offers techniques to subvert oppressive language practices, while encouraging students to recognize themselves as writers, citizens, and active participants in their own educations and communities.
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