Imaginative Realism

A examination of time-tested methods used by artists since the Renaissance to make realistic pictures of imagined things.

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

This book exemplifies one of the most complete and rigorous examples of scholarship relative to its subject matter that I have ever seen. Russell L. Ackoff, University of Pennsylvania, US This is a book written by someone who makes a living from helping organizations make strategy. It is also, though, written by a scholar someone who has thought hard about the topic and knows what other scholars think. This mix makes a book that is both thorough, well argued, and yet of great significance for consultants and managers. It unashamedly takes an inside-out view of strategy making, and this is what makes it so practical. It focuses on what those who manage want to do with their organization, rather than on some notion of what they should do. The book takes the field of strategic management forward by bringing theory and practice together more management writing needs to come from practitioner scholars. Colin Eden, University of Strathclyde Graduate School of Business, UK Olaf Rughase successfully unlocks important insights for creative market strategy development by linking it to central ideas about organizational identity. He provides a compelling theoretical rationale and useful practical process insights for how to induce creative market strategy formation through articulating current desired organizational identities. The book is clearly written, the claims well documented and well illustrated, providing a fresh and useful perspective on how to enable market strategies that work. Jane E. Dutton, University of Michigan, US In his well-researched book, Olaf Rughase introduces a new element into the concept of strategy which has so far been neglected to a surprising degree: the human factor. Strategy development certainly consists of data research, analysis and synthesis but after all, it is at least as much driven by fear and hope, will and might, the vision and the experience of the people involved. Only approaches that take this into account can claim any relevance for real-life strategy making. Viewed in this light, Olaf Rughase s book fills a gaping hole in the existing world of strategic thinking. Jörg Fengler, Management Consultancy, E.ON Ruhrgas AG, Germany Theorists and practitioners often underestimate the subtlety of each others thinking. Rughase s work engages seriously with both groups, and as a result is both deep and thoroughly practical. This is a genuinely original contribution. David Sims, Cass Business School, London, UK . . . this book is not just an academic treatise. Its insights grow out of facilitating strategy making, and one of these experiences is described in some detail. There are many practical observations to be found here. Political realities are acknowledged. Alternative paths anticipated. The ideas advanced here are, in combination, a genuine departure from past efforts. The theoretic development, which moves back and forth from experience to academic explanation, is convincing. From the foreword by Anne S. Huff This groundbreaking book explores the relationship between organizational identity and strategy and proposes a practical strategy making process that helps to avoid the typical pitfalls in strategic change processes. In doing so, the author bridges an important gap in management and strategy literature and explains how to practically link content and process when designing market strategies. A new conceptual framework is also presented which emphasizes the importance and dynamics of organizational identity and corresponding time discrepancies for strategy making. Whilst most strategists use the economically and analytically best strategy as a measure, Olaf Rughase introduces a new measure for strategy making that takes personal feelings, values and aspirations of organizational members into account. Claiming that individually desired organizational identities which can be seen as individual visions give direction, motivation and impetus for strategy action and developme

Had B.G. MacCarthy's criticism been available, Showalter's A Literature of Their Own would have been a very different kind of book...In some ways, contemporary could be ten years ahead if we had started the climb from MacCarthy's groundwork." —Maggie Humm, University of East London Back in print for the first time since the 1940's, this classic work of pre-feminist literary criticism is a challenging and authoritative assessment of women's contributions to English literature. B. G. MacCarthy, widely praised for the originality of her scholarship, challenges the dominant picture of mascaline literary history created by T. S. Eliot and F. R. Leavis. Written with crisp humor and irony, her exploration of women's writing. Focusing on a wide range of authors including Lady Mary Wroath, Eliza Hayward, Aphra Behn, Maria Edgeworth, Mary Wollstonecraft, Elizabeth Inchbald, Margaret Cavendish and Jane Austen- illustrates that these women attempted almost every genre of fiction, enriched many, and initiated some of the most important. Often savagely witty, The Female Pen discusses a vast array of fictional forms, including picturesque, moralistic, oriental, domestic, and gothic novels.

Concentrating on the role of the imagination in Updike's works, this book shows him to be an original and powerful thinker and not the callow sensationalist that he is sometimes accused of being.

"The tradition of Russian tragifarce can be characterized by its strong links to Russian political and cultural history and by its significant role in the development of Russian dramatic literature and theater practice. The book argues that the dualistic character of Russian tragifarce, which is close in spirit and philosophy to Bakhtin's understanding of the medieval carnival, embodies the ambivalent spirit of Russian culture and politics. The book further argues that the tragifarcical perception of the world can be seen as a national characteristic of the self-doubting and ironic Russian sensibility under the influence of a repressive political regime."--BOOK JACKET.

This book studies the key genres in contemporary Japanese cinema through analysis of their key representative films. It considers both those films whose generic lineage is clearly definable (samurai, yakuza, horror) as well as the singularity of several r

Traces the historical dimensions of Native North American drama using a critical perspective. Responding to an increasing need for critical perspectives and methodologies, this collection traces the historical dimensions of Native North American drama through overviews of major developments, individual playwrights’ perspectives, and in-depth critical analyses. Bringing together writers and scholars from the United States, Canada, and Europe, Indigenous North American Drama provides the first comprehensive outline of this vibrant genre. It also acknowledges the wide diversity of styles and perspectives that have helped shape contemporary Native North American theater itself. This interdisciplinary introduction offers a basis for new readings of Native American and First Nations literature at large. Birgit Däwes is Professor of American Studies at the Johannes Gutenberg-University of Mainz, Germany. She is the author of Native North American Theater in a Global Age: Sites of Identity Construction and Transdifference and Ground Zero Fiction: History, Memory, and Representation in the American 9/11 Novel.