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| we love glenda so much and other tales: We Love Glenda So Much, and Other Tales Julio Cortázar, 1983 |
| we love glenda so much and other tales: Hopscotch, Blow-Up, We Love Glenda So Much Julio Cortázar, 2016-04-20 These three groundbreaking works by Julio Cortázar—a major figure of world literature and one of the founders of the Latin American Boom—are published together in one volume for the first time, in honor of the centenary of his birth. With his influential “counternovel” HOPSCOTCH and his unforgettable short stories, Cortázar earned a place among the most innovative authors of the twentieth century. HOPSCOTCH is a nonlinear novel about an Argentinean writer living in Paris; it consists of 155 short chapters that the author advises the reader to read out of order. BLOW-UP and WE LOVE GLENDA SO MUCH bring together the most famous of Cortázar’s short fiction, including “Axolotl,” “End of the Game,” “The Night Face Up,” “Continuity of Parks,” “Bestiary,” and “Blow-Up”. These are stories in which invisible beasts stalk children in their homes, the reader of a mystery finds out that he is the murderer’s intended victim, an injured motorcyclist is pursued by Aztec warriors, and a man becomes a salamander in a Parisian zoo. In Cortázar’s work, laws of nature, physics, and narrative fall away, leaving us with an astonishing new view of the world. |
| we love glenda so much and other tales: A Certain Lucas Julio. Cortázar, 2025-10-07 A classic Julio Cortázar novel, long out of print in a new edition, this is an amazing rediscovery: Short takes of whimsy and surrealism, the tidbits here are like diamond chips (Kirkus Reviews) |
| we love glenda so much and other tales: Folklore, Literature, and Cultural Theory Cathy L. Preston, 2014-06-23 First published in 1996. The need to write, particularly in pre-technological recording days, in order to preserve and to analyze, lies at the heart of folklore and yet to write means to change the medium in which much folk communication and art actually took and takes place. In Part I of the collection, the contributors address literary constructions of traditional and emergent cultures, those of Leslie Marmon Silko, Sandra Cisneros, Pat Mora, Carmen Tafolla, Julio Cortázar, Milan Kundera, Franz Kafka, Philip Roth, Thomas Hardy, and Dacia Maraini. The contributors to Part II of the collection offer readings of a variety of traditional, vernacular, and local performances. |
| we love glenda so much and other tales: Narrative Theory: Special topics Mieke Bal, 2004 |
| we love glenda so much and other tales: Author Fictions Ingo Berensmeyer, 2023-10-04 Fictional novelists and other author characters have been a staple of novels and stories from the early nineteenth century onwards. What is it that attracts authors to representing their own kind in fiction? Author Fictions addresses this question from a theoretical and historical perspective. Narrative representations of literary authorship not only reflect the aesthetic convictions and social conditions of their actual authors or their time; they also take an active part in negotiating and shaping these conditions. The book unfolds the history of such ‘author fictions’ in European and North American texts since the early nineteenth century as a literary history of literary authorship, ranging from the Victorian bildungsroman to contemporary autofiction. It combines rhetorical and sociological approaches to answer the question how literature makes authors. Identifying ‘author fictions’ as narratives that address the fragile material conditions of literary creation in the actual and symbolic economies of production, Ingo Berensmeyer explores how these texts elaborate and manipulate concepts and models of authorship. This book will be relevant to English, American and comparative literary studies and to anyone interested in the topic of literary authorship. |
| we love glenda so much and other tales: City/Art Rebecca Biron, 2009-07-17 In City/Art, anthropologists, literary and cultural critics, a philosopher, and an architect explore how creative practices continually reconstruct the urban scene in Latin America. The contributors, all Latin Americanists, describe how creativity—broadly conceived to encompass urban design, museums, graffiti, film, music, literature, architecture, performance art, and more—combines with nationalist rhetoric and historical discourse to define Latin American cities. Taken together, the essays model different ways of approaching Latin America’s urban centers not only as places that inspire and house creative practices but also as ongoing collective creative endeavors themselves. The essays range from an examination of how differences of scale and point of view affect people’s experience of everyday life in Mexico City to a reflection on the transformation of a prison into a shopping mall in Uruguay, and from an analysis of Buenos Aires’s preoccupation with its own status and cultural identity to a consideration of what Miami means to Cubans in the United States. Contributors delve into the aspirations embodied in the modernist urbanism of Brasília and the work of Lotty Rosenfeld, a Santiago performance artist who addresses the intersections of art, urban landscapes, and daily life. One author assesses the political possibilities of public art through an analysis of subway-station mosaics and Julio Cortázar’s short story “Graffiti,” while others look at the representation of Buenos Aires as a “Jewish elsewhere” in twentieth-century fiction and at two different responses to urban crisis in Rio de Janeiro. The collection closes with an essay by a member of the São Paulo urban intervention group Arte/Cidade, which invades office buildings, de-industrialized sites, and other vacant areas to install collectively produced works of art. Like that group, City/Art provides original, alternative perspectives on specific urban sites so that they can be seen anew. Contributors. Hugo Achugar, Rebecca E. Biron, Nelson Brissac Peixoto, Néstor García Canclini, Adrián Gorelik, James Holston, Amy Kaminsky, Samuel Neal Lockhart, José Quiroga, Nelly Richard, Marcy Schwartz, George Yúdice |
| we love glenda so much and other tales: Radioactive Ghosts Gabriele Schwab, 2020-10-20 A pioneering examination of nuclear trauma, the continuing and new nuclear peril, and the subjectivities they generate Amid resurgent calls for widespread nuclear energy and “limited nuclear war,” the populations that must live with the consequences of these decisions are increasingly insecure. The nuclear peril combined with the looming threat of climate change means that we are seeing the formation of a new kind of subjectivity: humans who are in a position of perpetual ontological insecurity. In Radioactive Ghosts, Gabriele Schwab articulates a vision of these “nuclear subjectivities” that we all live with. Focusing on the legacies of the Manhattan Project, Hiroshima, and nuclear energy politics, Radioactive Ghosts takes us on a tour of the little-seen sides of our nuclear world. Examining devastating uranium mining on Native lands, nuclear sacrifice zones, the catastrophic accidents at Chernobyl and Fukushima, and the formation of a new transspecies ethics, Schwab shows how individuals threatened with extinction are creating new adaptations, defenses, and communal spaces. Ranging from personal accounts of experiences with radiation to in-depth readings of literature, film, art, and scholarly works, Schwab gives us a complex, idiosyncratic, and personal analysis of one of the most overlooked issues of our time. |
| we love glenda so much and other tales: Gregory Rabassa's Latin American Literature María Constanza Guzmán, 2011-03-14 This book takes the case of Gregory Rabassa, translator into English of such canonical novels as Garc'a MOrquez's Cien a-os de soledad and CortOzar's Rayuela. In the chapters, the author historicizes the translator's practice by investigating Rabassa's ideas about translation and his own practice, the relationship between Rabassa and 'his' authors, and the circulation and reception of Rabassa's translations, especially of the works of the so-called Latin American Boom. By critically engaging Rabassa as a translating subject, this book affirms the translator's active role in shaping literary traditions and in producing texts and knowledge. Rabassa emerges as an active subject in the inter-American literary exchange, an agent bound to history and to the forces involved in the production of culture. |
| we love glenda so much and other tales: Film, Architecture and Spatial Imagination Renée Tobe, 2016-08-25 Films use architecture as visual shorthand to tell viewers everything they need to know about the characters in a short amount of time. Illustrated by a diverse range of films from different eras and cultures, this book investigates the reciprocity between film and architecture. Using a phenomenological approach, it describes how we, the viewers, can learn how to read architecture and design in film in order to see the many inherent messages. Architecture’s representational capacity contributes to the plausibility or 'reality' possible in film. The book provides an ontological understanding that clarifies and stabilizes the reciprocity of the actual world and a filmic world of illusion and human imagination, thereby shedding light on both film and architecture. |
| we love glenda so much and other tales: Bestiary Julio Cortázar, 2020-02-06 A collection of masterful short stories in Julio Cortazar's sophistocated, powerful and gripping style. 'Julio Cortázar is truly a sorcerer and the best of him is here, in these hilariously fraught and almost eerily affecting stories' Kevin Barry A grieving family home becomes the site of a terrifying invasion. A frustrated love triangle, brought together by a plundered Aztec idol, spills over into brutality. A lodger’s inability to stop vomiting bunny rabbits inspires a personal confession. As dream melds into reality, and reality melts into nightmare, one constant remains throughout these thirty-five stories: the singular brilliance of Julio Cortazar’s imagination. WITH A NEW INTRODUCTION BY KEVIN BARRY ‘Anyone who doesn't read Cortázar is doomed’ Pablo Neruda |
| we love glenda so much and other tales: Killer Books Aníbal González, 2010-07-05 Writing and violence have been inextricably linked in Spanish America from the Conquest onward. Spanish authorities used written edicts, laws, permits, regulations, logbooks, and account books to control indigenous peoples whose cultures were predominantly oral, giving rise to a mingled awe and mistrust of the power of the written word that persists in Spanish American culture to the present day. In this masterful study, Aníbal González traces and describes how Spanish American writers have reflected ethically in their works about writing's relation to violence and about their own relation to writing. Using an approach that owes much to the recent turn to ethics in deconstruction and to the works of Jacques Derrida and Emmanuel Levinas, he examines selected short stories and novels by major Spanish American authors from the late nineteenth through the twentieth centuries: Manuel Gutiérrez Nájera, Manuel Zeno Gandía, Teresa de la Parra, Jorge Luis Borges, Alejo Carpentier, Gabriel García Márquez, and Julio Cortázar. He shows how these authors frequently display an attitude he calls graphophobia, an intense awareness of the potential dangers of the written word. |
| we love glenda so much and other tales: Borrowed Forms Kathryn Lachman, 2014 A pioneering, interdisciplinary study of how transnational novelists and critics use music as a critical device to structure narrative and to model ethical relations. |
| we love glenda so much and other tales: Talk Fiction Irene Kacandes, 2001-01-01 Everywhere you turn today, someone (or something) is talking to you?the television, the radio, cell phones, your computer. If you think some of the novels and stories you read are talking to you too, you're not alone, and you're not mistaken. In this innovative, multidisciplinary work, Irene Kacandes reads contemporary fiction as a form of conversation and as part of the larger conversation that is modern culture. ø Within a framework of talk as interaction, Kacandes considers texts that can be classified as statements, that is, texts that wholly or in part ask for their readers to react? to talk back?to them in certain ways. The works she addresses?from writers as varied as Harriet O. Wilson, Margaret Atwood, William Faulkner, Virginia Woolf, Graham Swift, G_nter Grass, John Barth, Julio Cort¾zar, and Italo Calvino?conduct their interactions in certain modes to accomplish different sorts of cultural work: storytelling, testimony, apostrophe, and interactivity. By focusing on texts within these groupings, Kacandes is able to relate the different modes of talk fiction to extraliterary cultural developments in our oral age?and to show how such interactions, however contrary to the dominant twentieth-century view of literature as art for art's sake, help to keep literature alive and speaking to us. |
| we love glenda so much and other tales: When Voices Clash Jacob L. Mey, 2010-12-14 TRENDS IN LINGUISTICS is a series of books that open new perspectives in our understanding of language. The series publishes state-of-the-art work on core areas of linguistics across theoretical frameworks as well as studies that provide new insights by building bridges to neighbouring fields such as neuroscience and cognitive science. TRENDS IN LINGUISTICS considers itself a forum for cutting-edge research based on solid empirical data on language in its various manifestations, including sign languages. It regards linguistic variation in its synchronic and diachronic dimensions as well as in its social contexts as important sources of insight for a better understanding of the design of linguistic systems and the ecology and evolution of language. TRENDS IN LINGUISTICS publishes monographs and outstanding dissertations as well as edited volumes, which provide the opportunity to address controversial topics from different empirical and theoretical viewpoints. High quality standards are ensured through anonymous reviewing. |
| we love glenda so much and other tales: Historical Dictionary of the Dirty Wars David Kohut, Olga Vilella, 2010-02-18 This second edition of Historical Dictionary of 'The Dirty Wars' focuses on the period 1954-1990 in South America, when authoritarian regimes waged war on subversion, both real and imagined. This is done through a chronology, an introductory essay, a bibliography, and over 400 cross-referenced dictionary entries on the countries; guerrilla and political movements; prominent guerrilla, human-rights, military, and political figures; local, regional, and international human-rights organizations; and artistic figures (filmmakers, novelists, and playwrights) whose works attempt to represent or resist the period of repression. |
| we love glenda so much and other tales: Historical Dictionary of the "dirty Wars" David R. Kohut, Olga Vilella, Beatrice Julian, 2003 During the 1970s and 1980s, national-security regimes in Argentina, Chile, and Uruguay declared war on suspected subversives, carrying out campaigns of mass human rights violations. The Historical Dictionary of the Dirty Wars describes the period, including the background and aftermath. |
| we love glenda so much and other tales: Crimes of Style Jeff Ferrell, 2021-11-30 First published in 1993, Crimes of Style investigates the politics of culture and crime through an in-depth case study of graffiti in Denver and the official response to it. Focusing on the most prevalent form of graffiti writing in Denver, the book provides a detailed consideration of the social and cultural circumstances that surround its creation. It explores the national and international development and reception of hip hop graffiti that provided the context in which Denver’s hip hop graffiti emerged. It also examines the reaction of Denver’s corporate and political community, highlighting the establishment of campaigns to criminalise it and identifying both Denver’s graffiti scene and the response to it as interwoven with broader cultural processes. Most significantly, the book puts forward the circumstances surrounding the phenomenal growth of, and subsequent attempts to suppress, hip hop graffiti as indicative of injustice and inequality within the United States. |
| we love glenda so much and other tales: Postcolonial literature and the biblical call for justice , 1994 These writers from postcolonial lands express readings of individual biblical texts as well as theoretical discussion of such issues as the challenge biblical justice makes to poststructuralism, the tensions in synthesizing Christianity and indigenous cultures, and the ethical dilemmas faced by writers opposing injustice. |
| we love glenda so much and other tales: The Mosquito Bite Author Baris Biçakçi, 2020-10-01 Originally published in 2011, The Mosquito Bite Author is the seventh novel by the acclaimed Turkish author Barış Bıçakçı. It follows the daily life of an aspiring novelist, Cemil, in the months after he submits his manuscript to a publisher in Istanbul. Living in an unremarkable apartment complex in the outskirts of Ankara, Cemil spends his days going on walks, cooking for his wife, repairing leaks in his neighbor’s bathroom, and having elaborate imaginary conversations in his head with his potential editor about the meaning of life and art. Uncertain of whether his manuscript will be accepted, Cemil wavers between thoughtful meditations on the origin of the universe and the trajectory of political literature in Turkey, panic over his own worth as a writer, and incredulity toward the objects that make up his quiet world in the Ankara suburbs. |
| we love glenda so much and other tales: We Love Glenda So Much and A Change of Light Julio Cortázar, 1984 |
| we love glenda so much and other tales: Encyclopedia of Literary Translation Into English: A-L O. Classe, 2000 |
| we love glenda so much and other tales: The Translator’s Visibility Larisa Cercel, Alice Leal, 2025-05-05 This collection illuminates the epistemological and philosophical underpinnings of Lawrence Venuti’s seminal The Translator’s Invisibility, extending these conversations through a contemporary lens of epistemic justice while also exploring its manifestations and transposing it to different disciplines and contexts. The volume is divided into five parts. The opening chapters provide contemporary foundations and a clear epistemological apparatus to conceptualise the debate on the translator’s visibility and explore some of the philosophical underpinnings of the debate. The following chapters offer analysis of some contemporary manifestations and illustrations of the translator’s visibility among translators and translation thinkers and restage the debate in diverse contexts – such as in European Union identity politics and Chinese Buddhist translation – and disciplines – such as film studies. A final chapter takes stock of the impact of machine translation to critically reflect on the future of translation and translator studies. This book will be of interest to students and scholars in translation and interpreting studies, philosophy, cultural studies and literary studies, as well as the humanities more broadly. |
| we love glenda so much and other tales: Towards a 'Natural' Narratology Monika Fludernik, 2002-11 In this ground breaking work of synthesis, Monika Fludernik combines insights from literary theory and linguistics to provide a challenging new theory of narrative. This book is both an historical survey and theoretical study, with the author drawing on an enormous range of examples from the earliest oral study to contemporary experimental fiction. She uses these examples to prove that recent literature, far from heralding the final collapse of narrative, represents the epitome of a centuries long developmental process. |
| we love glenda so much and other tales: Reading for Storyness Susan Lohafer, 2003-12-22 Reading for Storyness combines cognitive science with literary theory to present a compelling argument for the uniqueness of the short story. |
| we love glenda so much and other tales: Reclaiming the Author Lucille Kerr, 1992 The recent fiction of Spanish America has been widely acclaimed for its experimental and revolutionary qualities. In Reclaiming the Author, Lucille Kerr studies the sources of power of this newly emergent literature in her detailed examination of the critical concept of the author. Kerr considers how Spanish American narratives raise questions about authorial identity and activity through the different figures of the author they propose. These author-figures, she maintains, both complement and contradict notions of authority that exist outside of the world of fiction. By focusing on works by well-known Spanish American authors--Cortazar, Donoso, Fuentes, Poniatowska, Puig, and Vargas Llosa--Kerr shows how the Spanish Americans have formed a radical poetics of the author. Her readings demonstrate how exemplary Spanish American texts, such as Rayuela, Terra nostra, and El hablador, call into question the author as a unitary or uniform, and therefore unproblematical, figure. Individually and together, Kerr's readings reclaim the author as a complex critical concept encompassing diverse, conflicting, even competitive roles. |
| we love glenda so much and other tales: The White Guard Mikhail Bulgakov, 2024-02-06 Bulgakov's brilliant novel, first published in 1925, portrays his beloved city of Kiev as it is torn apart during a few crucial weeks in 1918, seen through the eyes of a family fleeing the Russian revolution. With cinematic vividness, Bulgakov puts us on the streets of a gracious, historic city as it is successively besieged by invading Germans, Ukrainian nationalists, the Red Guard of the Bolsheviks, and the White Guard loyal to the recently executed tsar. The Turbin siblings, once wealthy and secure in Russia, have fled to Kiev to escape the ongoing civil war, but find themselves surrounded by chaos and danger. As Bulgakov depicts their devotion to a doomed cause and the surreal horrors they face, he provides a view of history that is both grandly panoramic and movingly intimate. Everyman's Library pursues the highest production standards, printing on acid-free cream-colored paper, with full-cloth cases with two-color foil stamping, decorative endpapers, silk ribbon markers, European-style half-round spines, and a full-color illustrated jacket. |
| we love glenda so much and other tales: Queremos tanto a Glenda Julio Cortázar, 2016-06-01 Conjunto de diez cuentos publicados por Julio Cortázar en 1980, en el que destaca el relato que da nombre al libro. Este e-book incluye, en exclusiva, la historia de la creación de Queremos tanto a Glenda contada a través de las cartas de Julio Cortázar y una guía para leer al autor. En estos diez relatos insuperables hay variantes para todos los paladares de lectura: rituales públicos y privados, pesadillas que surgen a plena luz del día, cruces imperceptibles entre la realidad y la imaginación, humor, violencia y melancolía. Desde la exquisita ambigüedad de «Orientación de los gatos» a la perfecta construcción lógica de «Anillo de Moebius», desfilan los temas que Cortázar ha sabido, como pocos, convertir en literatura de antología: los sueños, los gatos, los cuadros, el tiempo, la música, las infinitas trampas del lenguaje. Y ese sabor persistente e indefinible que, como en toda gran obra, está más allá de cualquier fórmula. |
| we love glenda so much and other tales: Latin American Literature & Arts Review , 1981 |
| we love glenda so much and other tales: Spelled Betsy Schow, 2015-06-02 Fairy Tale Survival Rule #32: If you find yourself at the mercy of a wicked witch, sing a romantic ballad and wait for your Prince Charming to save the day. Yeah, no thanks. Dorthea is completely princed out. Sure being the crown princess of Emerald has its perks—like Glenda Original ball gowns and Hans Christian Louboutin heels. But a forced marriage to the not-so-charming prince Kato is so not what Dorthea had in mind for her enchanted future. Talk about unhappily ever after. Trying to fix her prince problem by wishing on a (cursed) star royally backfires, leaving the kingdom in chaos and her parents stuck in some place called Kansas. Now it's up to Dorthea and her pixed off prince to find the mysterious Wizard of Oz and undo the curse...before it releases the wickedest witch of all and spells The End for the world of Story. |
| we love glenda so much and other tales: If this be Treason Gregory Rabassa, 2005 The long-awaited memoir and meditation on the art of translating by the most acclaimed American translator of Latin American literature. |
| we love glenda so much and other tales: The Encyclopedia of Fantasy John Clute, John Grant, 1999-03-15 Like its companion volume, The Encyclopedia of Science Fiction, this massive reference of 4,000 entries covers all aspects of fantasy, from literature to art. |
| we love glenda so much and other tales: American Film , 1982 |
| we love glenda so much and other tales: The Half-mammals of Dixie George Singleton, 2002-01-01 Presents a collection of short stories that captures the lives of such characters as a boy whose reputation is ruined forever after he stars in a documentary on diagnosing head lice and a lovelorn father who woos his child's third-grade teacher. |
| we love glenda so much and other tales: Return Trip Tango and Other Stories from Abroad Frank MacShane, 1992 A cornucopia of contemporary world fiction that brings together short stories by authors including Calvino, Garcia Marquez, Abe, Duras, Borges and Beckett. |
| we love glenda so much and other tales: Fiction, 1876-1983: Titles R.R. Bowker Company. Department of Bibliography, R.R. Bowker Company. Publications Systems Department, 1983 |
| we love glenda so much and other tales: Look Away! Jon Smith, Deborah Cohn, 2004-07-21 Look Away! considers the U.S. South in relation to Latin America and the Caribbean. Given that some of the major characteristics that mark the South as exceptional within the United States—including the legacies of a plantation economy and slave trade—are common to most of the Americas, Look Away! points to postcolonial studies as perhaps the best perspective from which to comprehend the U.S. South. At the same time it shows how, as part of the United States, the South—both center and margin, victor and defeated, and empire and colony—complicates ideas of the postcolonial. The twenty-two essays in this comparative, interdisciplinary collection rethink southern U.S. identity, race, and the differences and commonalities between the cultural productions and imagined communities of the U.S. South and Latin America. Look Away! presents work by respected scholars in comparative literature, American studies, and Latin American studies. The contributors analyze how writers—including the Martinican Edouard Glissant, the Cuban-American Gustavo Pérez Firmat, and the Trinidad-born, British V. S. Naipaul—have engaged with the southern United States. They explore William Faulkner’s role in Latin American thought and consider his work in relation to that of Gabriel García Márquez and Jorge Luis Borges. Many essays re-examine major topics in southern U.S. culture—such as race, slavery, slave resistance, and the legacies of the past—through the lens of postcolonial theory and postmodern geography. Others discuss the South in relation to the U.S.–Mexico border. Throughout the volume, the contributors consistently reconceptualize U.S. southern culture in a way that acknowledges its postcolonial status without diminishing its distinctiveness. Contributors. Jesse Alemán, Bob Brinkmeyer, Debra Cohen, Deborah Cohn, Michael Dash, Leigh Anne Duck, Wendy Faris, Earl Fitz, George Handley, Steve Hunsaker, Kirsten Silva Gruesz, Dane Johnson, Richard King, Jane Landers, John T. Matthews, Stephanie Merrim, Helen Oakley, Vincent Pérez, John-Michael Rivera, Scott Romine, Jon Smith, Ilan Stavans, Philip Weinstein, Lois Parkinson Zamora |
| we love glenda so much and other tales: An Introduction to Complexity Pedagogy D. Emily Hicks, 2023-01-30 An Introduction to Complexity Pedagogy: Using Critical Theory, Critical Pedagogy and Complexity in Performance and Literature offers readers an introduction to the basic concepts of complexity science and how they might be applied in the teaching of composition, creative writing, performance, and literature. The book builds on Critical Theory (defined as Frankfurt Theory) and border theory, serving as a critique of neoliberalism in higher education and the teaching of critical thinking as a set of skills. Individual chapters are devoted to the following artists and writers: • the Choctaw people • author LeAnne Howe • Chicana lesbian author Gloria Anzaldua • performance artist Karen Finley • the performance duo Bob Flanagan and Sheree Rose The strength of this book is that it concentrates on the teaching of interrelated topics: borders (including the border between the able/disabled), complexity, mixed ancestry, ability/disability, texts, and performance, using the Mexico-U.S. border as the working example of a complexity system. The work of the five aforementioned artists and authors are used to focus on political resistance within the context of decolonialism, but there are also references to mixed ancestry populations (including Redbones) and disability issues. This complexity frame of reference allows the reader to see and understand both the artists’ narratives and viewpoints in the dynamic relations of shorter and longer time frames. No prior knowledge of complexity science is required and ample examples of complexity-related topics-- from coral reefs to zebra stripes--are provided. The focus is on students in state universities and community college transfer students, especially first generation students and students of color, with policy implications pointing to a critique of both elite small liberal arts colleges (SLACs) and research institutions. An Introduction to Complexity Pedagogy: Using Critical Theory, Critical Pedagogy and Complexity in Performance and Literature is the perfect text for assignment in a variety of classrooms, including courses in Complexity Science, Composition and Rhetoric, Performance Arts, Cultural Studies, Critical Theory, Ethnic Studies, and many others. Perfect for courses such as: Introduction to Creative Writing | Advanced Composition | Introduction to Border Art | Introduction to Complexity in the Arts and the Humanities | Introduction to Multicultural Literature | Introduction to Chicanx and Native American Literature | Introduction to Performance Art and Social Justice | Special Topics: Complexity, the Environment, Literature and the Arts | Special Topics: Disability Studies and Performance | Special Topics: Critical Family Histories, Mixed Ancestry and Pedagogy |
| we love glenda so much and other tales: Short Story Index , 1979 |
| we love glenda so much and other tales: Giovanni's Room James Baldwin, 2016-03-01 Set among the bohemian bars and nightclubs of 1950s Paris, this groundbreaking novel about love and the fear of love is a book that belongs in the top rank of fiction (The Atlantic). • With an Introduction by Colm Tóibín, New York Times bestselling author of The Master. David is a young American expatriate who has just proposed marriage to his girlfriend, Hella. While she is away on a trip, David meets a bartender named Giovanni to whom he is drawn in spite of himself. Soon the two are spending the night in Giovanni’s curtainless room, which he keeps dark to protect their privacy. But Hella’s return to Paris brings the affair to a crisis, one that rapidly spirals into tragedy. Caught between his repressed desires and conventional morality, David struggles for self-knowledge during one long, dark night—“the night which is leading me to the most terrible morning of my life.” With sharp, probing insight, Giovanni's Room tells an impassioned, deeply moving story that lays bare the unspoken complexities of the human heart. |
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