front cover of The Emperor’s New Clothes
The Emperor’s New Clothes
Literature, Literacy, and the Ideology of Style
Kathryn T. Flannery
University of Pittsburgh Press, 1995
Since the Renaissance, what has been considered the “best” style of writing has always been connected with the dominant cultural agenda of the time. In this book, Kathryn Flannery offers a demystifying perspective on theorists who have argued for an essential distinction between “content” and “style,” and focuses on the importance of understanding written prose style as a cultural asset. She addresses the development of prose criticism, the evolution of English teaching, the history of Francis Bacon and Richard Hooker's writing, and a modern discourse on stylistics.
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The End of Ideology
On the Exhaustion of Political Ideas in the Fifties, With a New Afterword
Daniel Bell
Harvard University Press, 1988

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The End of Ideology
On the Exhaustion of Political Ideas in the Fifties, with "The Resumption of History in the New Century"
Daniel Bell
Harvard University Press, 2000

Named by the Times Literary Supplement as one of the 100 most influential books since the end of World War II, The End of Ideology has been a landmark in American social thought, regarded as a classic since its first publication in 1962.

Daniel Bell postulated that the older humanistic ideologies derived from the nineteenth and early twentieth centuries were exhausted, and that new parochial ideologies would arise. In a new introduction to the year 2000 edition, he argues that with the end of communism, we are seeing a resumption of history, a lifting of the heavy ideological blanket and the return of traditional ethnic and religious conflicts in the many regions of the former socialist states and elsewhere.

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Experimental Dining
Performance, Experience and Ideology in Contemporary Creative Restaurants
Paul Geary
Intellect Books, 2021
This book explores the creation of the dining experience as a form of multisensory performance.

Experimental Dining examines the construction of the world of restaurants and their creative methods, the experience of dining, and the broader ideological frames within which the work takes place, bringing together ideas around food, philosophy, performance and cultural politics to offer an interdisciplinary understanding of the practice and experience of creative restaurants. The author contends that the work of the experimental restaurant, while operating explicitly within an economy of experiences, is not absolutely determined by that political or economic context. Its practice has the potential to appeal to more than idle curiosity for novelty. It can be unsettling and revealing, provocative and evocative, personal and political, experimental and considered, thoughtful and sensual. Or in other words, that the food event can be art.
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