Essays In Honour Of Boris Beri S Sixty Fifth Birthday

Written as a Festschrift honouring a beloved professor, colleague, and friend, this volume comprises a collection of essays offering a wide array of contemporary approaches to literature, linguistics, and applied linguistics. It covers a variety of topics, ranging from medieval to contemporary literature and language, and explores genres as diverse as fantasy, dystopia, drama, poetry, and film, addressing issues such as post- and transhumanism, age, gender, identity, family, metonymy, and narrative discourse. The diversity of themes and methodologies here makes the collection a widely applicable resource in the academic discussion of literature, language, and culture, both as a significant contribution to different philological fields and a useful educational tool for anyone teaching or studying English, Anglophone literature, British, American, and German studies, English as a Second Language, linguistics, cognitive linguistics, and applied linguistics, or conducting research in these fields.

This open access book considers the stories of adolescents and young adults from different regions of the world who use digital media as instruments and stages for storytelling, or who make the media the subject of story telling. These narratives discuss interconnectedness, self-staging, and managing boundaries. From the perspective of media and cultural research, they can be read as responses to the challenges of contemporary society. Providing empirical evidence and thought-provoking explanations, this book will be useful to students and scholars who wish to uncover how ongoing processes of cultural transformation are reflected in the thoughts and feelings of the internet generation.

Winner, 2022 AATSEEL Best Book in Literary Studies, American Association of Teachers of Slavic and European Languages Honorable Mention, 2022 Aldo and Jeanne Scaglione Prize for Comparative Literary Studies, Modern Language Association Following the failure of communist revolutions in Europe, in the 1920s the Soviet Union turned its attention to fostering anticolonial uprisings in Asia. China, divided politically between rival military factions and dominated economically by imperial powers, emerged as the Comintern’s prime target. At the same time, a host of prominent figures in Soviet literature, film, and theater traveled to China, met with Chinese students in Moscow, and placed contemporary China on the new Soviet stage. They sought to reimagine the relationship with China in the terms of socialist internationalism—and, in the process, determine how internationalism was supposed to look and feel in practice. Internationalist Aesthetics offers a groundbreaking account of the crucial role that China played in the early Soviet cultural imagination. Edward Tyerman tracks how China became the key site for Soviet debates over how the political project of socialist internationalism should be mediated, represented, and produced. The central figure in this story, the avant-garde writer Sergei Tret’iakov, journeyed to Beijing in the 1920s and experimented with innovative documentary forms in an attempt to foster a new sense of connection between Chinese and Soviet citizens. Reading across genres and media from reportage and biography to ballet and documentary film, Tyerman shows how Soviet culture sought an aesthetics that could foster a sense of internationalist community. He reveals both the aspirations and the limitations of this project, illuminating a crucial chapter in Sino-Russian relations. Grounded in extensive sources in Russian and Chinese, this cultural history bridges Slavic and East Asian studies and offers new insight into the transnational dynamics that shaped socialist aesthetics and politics in both countries.

This volume of essays is meant as a tribute to Alistair Crombie by some of those who have studied with him. The occasion of its publication is his seven tieth birthday - 4 November 1985. Its contents are a reflection - or so it is hoped - of his own interests, and they indicate at the same time his influence on subjects he has pursued for some forty years. Born in Brisbane, Australia, Alistair Cameron Crombie took a first degree in zoology at the University of Melbourne in 1938, after which he moved to Je sus College, Cambridge. There he took a doctorate in the same subject (with a dissertation on population dynamics - foreshadowing a later interest in the history of Darwinism) in 1942. By this time he had taken up a research position with the Ministry of Agriculture and Fisheries in the Cambridge Zoological La boratory, a position he left in 1946, when he moved to a lectureship in the his tory and philosophy of science at University College, London. H. G. Andrewa ka and L. C. Birch, in a survey of the history of insect ecology (R. F. Smith, et al. , History of Entomology, 1973), recognise the importance of the works of Crombie (with which they couple the earlier work of Gause) as the principal sti mulus for the great interest taken in interspecific competition in the mid 194Os.

Quick Reference General Knowledgeis a thoroughly researched, exam oriented text, which will help students to master general knowledge from a variety of fields. This book will prepare students for numerous competitive examinations. The book covers various topics such as history, geography, Indian polity, Indian economy, general science and general knowledge, presenting concise and clear explanations for the students. This book will be useful for SSC, Banking, UPSC, NDA, CDS and other examinations.

This book focuses on the succession of imperial power under the Julio-Claudian dynasty. The author investigates the mechanisms of succession of the Julio-Claudian emperors, analyses various stages of the accessions of Tiberius, Caligula, Claudius and Nero, as well as deals with the Julio-Claudian model of investiture of a new princeps.

In offering this study of Negro music, I do so with the admission that there is no consistent development as found in national schools of music. The Negro, a musical force, through his own distinct racial characteristics has made an artistic contribution which is racial but not yet national. Rather has the influence of musical stylistic traits termed Negro, spread over many nations wherever the colonies of the New World have become homes of Negro people. These expressions in melody and rhythm have been a compelling force in American music Ð tragic and joyful in emotion, pathetic and ludicrous in melody, primitive and barbaric in rhythm. The welding of these expressions has brought about a harmonic effect which is now influencing thoughtful musicians throughout the world. At present there is evidenced a new movement far from academic, which plays an important technical part in the music of this and other lands. The question as to whether there exists a pure Negro art in America is warmly debated. Many Negroes as well as Anglo-Americans admit that the so-called American Negro is no longer an African Negro. Apart from the fusion of blood he has for centuries been moved by the same stimuli which have affected all citizens of the United States. They argue rightly that he is a product of a vital American civilization with all its daring, its progress, its ruthlessness, and unlovely speed. As an integral part of the nation, the Negro is influenced by like social environment and governed by the same political institutions; thus page vi we may expect the ultimate result of his musical endeavors to be an art-music which embodies national characteristics exercised upon by his soul's expression. In the field of composition, the early sporadic efforts by people of African descent, while not without historic importance, have been succeeded by contributions from a rising group of talented composers of color who are beginning to find a listening public. The tendency of this music is toward the development of an American symphonic, operatic and ballet school led for the moment by a few lone Negro musicians of vision and high ideals. The story of those working toward this end is herein treated. Facts for this volume have been obtained from educated African scholars with whom the author sought acquaintanceship and from printed sources found in the Boston Public Library, the New York Public Library and the Music Division of the Library of Congress. The author has also had access to rare collections and private libraries which include her own. Folk material has been gathered in personal travel.