9780804730662 - The Practice of Cultural Analysis: Exposing Interdisciplinary Interpretation (Cultural Memory in the Present) de Gonzales, Bryan (25 resultados)

Hardcover. Condición: Very Good. HARDCOVER Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. 1st Edition. Original hardcover in jacket, 392 pages, index. Book is solid and bright with minimal reading wear. There is a translucent damp stain at top outer page edges with related sliver translucent stain along top page edges. Light soiling, wear to jacket. Mostly cosmetic wear to book, about good to good plus. r2b2.

Hardcover. Condición: Good. HARDCOVER Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized.

1999. Anthropological theory and method. Stanford University Press. 392p. Ex-library otherwise tight and clean cloth, no dust jacket.

Hardcover. Condición: As New. [From the library of noted scholar Richard A. Macksey.] Hardcover and dust jacket. Good binding and cover. Light edge wear. Clean, unmarked pages. xix, 392 pages, ill., 23 cm. This volume presents an interdisciplinary approach to humanistic scholarship situated somewhere between cultural studies and cultural history. "Richard A. Macksey was a celebrated Johns Hopkins University professor whose affiliation with the university spanned six and a half decades. A legendary figure not only in his own fields of critical theory, comparative literature, and film studies but across all the humanities, Macksey possessed enormous intellectual capacity and a deeply insightful human nature. He was a man who read and wrote in six languages, was instrumental in launching a new era in structuralist thought in America, maintained a personal library containing a staggering collection of books and manuscripts, inspired generations of students to follow him to the thorniest heights of the human intellect, and penned or edited dozens of volumes of scholarly works, fiction, poetry, and translation." - Johns Hopkins University.

Condición: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.

Hardback. Condición: New. New copy - Usually dispatched within 4 working days.

Condición: New.

Hardback. Condición: New. This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being more specific than either. Cultural analysis as a critical practice is based on a keen awareness of the critic's situatedness in the present-the social and cultural present from which we look, and look back, at objects that are already of the past, objects that we take to define our present culture. Thus it can be summarized by the phrase "cultural memory in the present." Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of the present, as what we have around us. The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary practice. The challenge for this volume is to counter the common assumption that interdisciplinarity makes the object of inquiry vague and the methodology muddled. In meeting that challenge, it offers close textual and visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna Barnes's Nightwood, from the history of cinema to popular culture in Zaire. The essays in Part I, "Don't Look Now: Visual Memory in the Present," explore in detailed case studies centered on the theme of visuality or looking, the tricky consequences of the uncertainties regarding history that the presentness of the past entails. Part II, "Close-ups and Mirrors: The Return of Close Reading, with a Difference," demonstrates and advocates "listening" to the object without the New Critical naïveté that claims the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic of cultural analysis; the text does not speak for itself, but it does speak back. The essays in Part III, "Method Matters: Reflections on the Identity of Cultural Analysis," do not propose any "directions for use" or authoritative statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.

Hardback. Condición: New. This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being more specific than either. Cultural analysis as a critical practice is based on a keen awareness of the critic's situatedness in the present-the social and cultural present from which we look, and look back, at objects that are already of the past, objects that we take to define our present culture. Thus it can be summarized by the phrase "cultural memory in the present." Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of the present, as what we have around us. The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary practice. The challenge for this volume is to counter the common assumption that interdisciplinarity makes the object of inquiry vague and the methodology muddled. In meeting that challenge, it offers close textual and visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna Barnes's Nightwood, from the history of cinema to popular culture in Zaire. The essays in Part I, "Don't Look Now: Visual Memory in the Present," explore in detailed case studies centered on the theme of visuality or looking, the tricky consequences of the uncertainties regarding history that the presentness of the past entails. Part II, "Close-ups and Mirrors: The Return of Close Reading, with a Difference," demonstrates and advocates "listening" to the object without the New Critical naïveté that claims the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic of cultural analysis; the text does not speak for itself, but it does speak back. The essays in Part III, "Method Matters: Reflections on the Identity of Cultural Analysis," do not propose any "directions for use" or authoritative statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: new.

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New. pp. 416.

Condición: New. pp. 416 1st Edition.

Condición: As New. Unread book in perfect condition.

Condición: New. This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being aiming to be more specific than either. Editor(s): Bal, Mieke. Series: Cultural Memory in the Present. Num Pages: 416 pages, 47 half-tones. BIC Classification: DSA; JHM. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 30. Weight in Grams: 702. . 1999. 1st Edition. Hardcover. . . . .

Hardback. Condición: New. This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being more specific than either. Cultural analysis as a critical practice is based on a keen awareness of the critic's situatedness in the present-the social and cultural present from which we look, and look back, at objects that are already of the past, objects that we take to define our present culture. Thus it can be summarized by the phrase "cultural memory in the present." Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of the present, as what we have around us. The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary practice. The challenge for this volume is to counter the common assumption that interdisciplinarity makes the object of inquiry vague and the methodology muddled. In meeting that challenge, it offers close textual and visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna Barnes's Nightwood, from the history of cinema to popular culture in Zaire. The essays in Part I, "Don't Look Now: Visual Memory in the Present," explore in detailed case studies centered on the theme of visuality or looking, the tricky consequences of the uncertainties regarding history that the presentness of the past entails. Part II, "Close-ups and Mirrors: The Return of Close Reading, with a Difference," demonstrates and advocates "listening" to the object without the New Critical naïveté that claims the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic of cultural analysis; the text does not speak for itself, but it does speak back. The essays in Part III, "Method Matters: Reflections on the Identity of Cultural Analysis," do not propose any "directions for use" or authoritative statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.

Gebunden. Condición: New. This volume presents an interdisciplinary approach to humanistic scholarship situated somewhere between cultural studies and cultural history. Cultural analysis as a critical practice is based on a keen awareness of the critic s situatedness in the present.

Hardback. Condición: New. This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being more specific than either. Cultural analysis as a critical practice is based on a keen awareness of the critic's situatedness in the present-the social and cultural present from which we look, and look back, at objects that are already of the past, objects that we take to define our present culture. Thus it can be summarized by the phrase "cultural memory in the present." Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of the present, as what we have around us. The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary practice. The challenge for this volume is to counter the common assumption that interdisciplinarity makes the object of inquiry vague and the methodology muddled. In meeting that challenge, it offers close textual and visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna Barnes's Nightwood, from the history of cinema to popular culture in Zaire. The essays in Part I, "Don't Look Now: Visual Memory in the Present," explore in detailed case studies centered on the theme of visuality or looking, the tricky consequences of the uncertainties regarding history that the presentness of the past entails. Part II, "Close-ups and Mirrors: The Return of Close Reading, with a Difference," demonstrates and advocates "listening" to the object without the New Critical naïveté that claims the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic of cultural analysis; the text does not speak for itself, but it does speak back. The essays in Part III, "Method Matters: Reflections on the Identity of Cultural Analysis," do not propose any "directions for use" or authoritative statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.

Condición: New. This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being aiming to be more specific than either. Editor(s): Bal, Mieke. Series: Cultural Memory in the Present. Num Pages: 416 pages, 47 half-tones. BIC Classification: DSA; JHM. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 5817 x 3887 x 30. Weight in Grams: 702. . 1999. 1st Edition. Hardcover. . . . . Books ship from the US and Ireland.

Hardcover. Condición: Brand New. 1st edition. 392 pages. 9.50x6.25x1.25 inches. In Stock.

Buch. Condición: Neu. Neuware - This volume presents an interdisciplinary approach to humanistic scholarship, one that can be situated somewhere between cultural studies and cultural history while being more specific than either. Cultural analysis as a critical practice is based on a keen awareness of the critic's situatedness in the present--the social and cultural present from which we look, and look back, at objects that are already of the past, objects that we take to define our present culture. Thus it can be summarized by the phrase 'cultural memory in the present.' Far from being indifferent to history, cultural analysis is devoted to understanding the past as part of the present, as what we have around us.The essays gathered here represent the current state of an emerging field of inquiry. At the same time, they suggest to the larger academic world what cultural analysis can and should do, or be, as an interdisciplinary practice. The challenge for this volume is to counter the common assumption that interdisciplinarity makes the object of inquiry vague and the methodology muddled. In meeting that challenge, it offers close textual and visual readings of subjects ranging from Vermeer to abstract expressionism, from the Book of Ruth to Djuna Barnes's Nightwood, from the history of cinema to popular culture in Zaire.The essays in Part I, 'Don't Look Now: Visual Memory in the Present,' explore in detailed case studies centered on the theme of visuality or looking, the tricky consequences of the uncertainties regarding history that the presentness of the past entails. Part II, 'Close-ups and Mirrors: The Return of Close Reading, with a Difference,' demonstrates and advocates 'listening' to the object without the New Critical naïveté that claims the text speaks for itself. Instead, the essays create the kind of dialogical situation that is a major characteristic of cultural analysis; the text does not speak for itself, but it does speak back. The essays in Part III, 'Method Matters: Reflections on the Identity of Cultural Analysis,' do not propose any 'directions for use' or authoritative statements on how to do cultural analysis. Arranged in pairs of opposites, the essays represent the kind of fruitful tension that stimulates debate. Though no definite answers are proposed, and conflicting views are left in conflict, the essays stimulate a (self-)reflection on cultural analysis, its practices, and its understandings.

Hardcover. Condición: Brand New. 1st edition. 392 pages. 9.50x6.25x1.25 inches. In Stock. This item is printed on demand.