01743nam2 22002773i 450 SUN007436620100310120000.020100309d2009 |0itac50 baitaIT|||| |||||ˆ1: ‰Italia settentrionalea cura di Vincenzo CazzatoRomaIstituto Poligrafico e Zecca dello Stato, libreria dello Statostampa 2009XXVIII, 512 p.ill.28 cm.001SUN00743632001 Atlante del giardino italiano, 1750-1940dizionario biografico di architetti, giardinieri, botanici, committenti, letterati e altri protagonistia cura di Vincenzo Cazzato1205 Roma : Istituto Poligrafico e Zecca dello Statolibreria dello Statostampa 2009210 2 v. : ill. ; 28 cm215 In testa al front.: Ministero per i beni e le attivita culturali, Ufficio studi.RomaSUNL000360Cazzato, VincenzoSUNV005686Istituto poligrafico e Zecca dello StatoSUNV000329650ITSOL20181109RICASUN0074366BIBLIOTECA DEL DIPARTIMENTO DI ARCHITETTURA E DISEGNO INDUSTRIALE01 PREST ICa46(a) 01 50857 UFFICIO DI BIBLIOTECA DEL DIPARTIMENTO DI LETTERE E BENI CULTURALI07 CONS Lex a 35(1) 07 19073 BIBLIOTECA DEL DIPARTIMENTO DI ARCHITETTURA E DISEGNO INDUSTRIALEIT-CE010750857PREST ICa46(a)paUFFICIO DI BIBLIOTECA DEL DIPARTIMENTO DI LETTERE E BENI CULTURALIIT-CE010319073CONS Lex a 35(1)caITALIA settentrionale112286UNICAMPANIA06664nam 22018855 450 991078994260332120190708092533.01-280-49431-X97866135895451-4008-4314-610.1515/9781400843145(CKB)2670000000174777(EBL)887204(OCoLC)852755904(SSID)ssj0000878101(PQKBManifestationID)11483193(PQKBTitleCode)TC0000878101(PQKBWorkID)10814026(PQKB)11532287(OCoLC)794489159(OCoLC)1085649428(MdBmJHUP)muse41487(DE-B1597)447585(OCoLC)1004872046(OCoLC)1054880449(OCoLC)979780174(OCoLC)999372118(DE-B1597)9781400843145(MiAaPQ)EBC887204(EXLCZ)99267000000017477720190708d2012 fg engurcn|||||||||txtrdacontentcrdamediacrrdacarrierThe War for Afghanistan: A Very Brief History From Afghanistan: A Cultural and Political History /Thomas BarfieldCourse BookPrinceton, NJ : Princeton University Press, [2012]©20121 online resource (62 pages)Princeton Shorts"The war for Afghanistan : a very brief history comprises chapter 5 from Afghanistan : a cultural and political history, by Thomas Barfield. Copyright 2010 by Princeton University Press"--Title page verso.Includes bibliographical references (pages 57-58). Frontmatter -- Afghanistan Enters the Twenty-first Century -- About the Author -- Related TitlesWhen it invaded Afghanistan in 2001, the United States sought to do something previous foreign powers had never attempted: to create an Afghani state where none existed. More than a decade on, the new regime in Kabul remains plagued by illegitimacy and ineffectiveness. What happened? As Thomas Barfield shows, the history of previous efforts to build governments in Afghanistan does much to explain the difficulties besetting this newest experiment. Princeton Shorts are brief selections taken from influential Princeton University Press books and produced exclusively in ebook format. Providing unmatched insight into important contemporary issues or timeless passages from classic works of the past, Princeton Shorts enable you to be an instant expert in a world where information is everywhere but quality is at a premium.Princeton ShortsIslam and politicsAfghanistanHistoryAfghanistanSocial conditionsAfghanistanHistoryAfghanistanPolitics and governmentAbdul Ahad Karzai.Abdul Haq (Afghan leader).Abdul Rashid Dostum.Abuse of power.Afghan refugees.Afghanistan.Afghanistanism.Al-Qaeda.Amanullah Khan.Appeasement.Assassination.Ba'athist Iraq.Babrak Karmal.Barakzai.Carpetbagger.Center of government.Central Asia.Colonialism.Consent of the governed.Consultation (Texas).Counter-insurgency.Counterforce.Decentralization.Demographics of Afghanistan.Durrani Empire.Electoral fraud.Estado Novo (Portugal).Failed state.Federally Administered Tribal Areas.First Anglo-Afghan War.George W. Bush.Gulbuddin Hekmatyar.Hafizullah Amin.Hamid Karzai.Head of government.Imperialism.Insurgency.Internally displaced person.International Security Assistance Force.International community.Islamic Emirate of Afghanistan.Islamic extremism.Ismail Khan.Jalaluddin Haqqani.Jirga.Kabul.Left-wing politics.Loya jirga.Mass mobilization.MassResistance.Microstate.Military dictatorship.Military occupation.Mohammed Omar.Mohammed Zahir Shah.Muhammadzai (Hashtnagar).Mujahideen.Musahiban.NATO.Najibullah (militant leader).Name recognition.Nation-building.Neocolonialism.Nuristanis.Pakistan.Pashtuns.People's Democratic Party of Afghanistan.Politician.Power politics.President of Afghanistan.Prime Minister of Canada.Provincial Reconstruction Team.Provisional government.Puppet state.Racism.Reactionary.Refugee.Resistance movement.Sadozai (Pashtun tribe).Second Anglo-Afghan War.Sovereignty.Soviet Union.Soviet withdrawal from Afghanistan.Strongman (politics).Subsidy.Tajiks.Taliban insurgency.Taliban.Tax.Tehrik-i-Taliban Pakistan.Territorial integrity.The Iraqis (party).Treaty of Gandamak.United States invasion of Afghanistan.War crime.War in Afghanistan (2001–14).War in Afghanistan (2015–present).War of succession.Warfare.Zhou Enlai.Islam and politicsHistory.958.1Barfield Thomas, 1530469DE-B1597DE-B1597BOOK9910789942603321The War for Afghanistan: A Very Brief History3775539UNINA14898nam 2201069 450 991078928630332120220915232516.00-520-95741-510.1525/9780520957411(CKB)3710000000092495(EBL)1650802(SSID)ssj0001132187(PQKBManifestationID)11627940(PQKBTitleCode)TC0001132187(PQKBWorkID)11147192(PQKB)11385211(OCoLC)873805823(OCoLC)894795921(MdBmJHUP)muse32365(DE-B1597)518855(OCoLC)891394389(DE-B1597)9780520957411(Au-PeEL)EBL1650802(CaPaEBR)ebr10846223(CaONFJC)MIL581100(MiAaPQ)EBC1650802(PPN)182229564(EXLCZ)99371000000009249520140908h20142014 uy| 0engurnn#---|u||utxtccrFilm manifestos and global cinema cultures[electronic resource] a critical anthology /Scott MacKenzieBerkeley ;London :University of California Press,[2014]©20141 online resource (675 p.)Includes index.0-520-27674-4 Includes bibliographical references and index.Film Manifestos and Global Cinema Cultures --Front matter --CONTENTS --ACKNOWLEDGMENTS --INTRODUCTION --1. THE AVANT-GARDE(S) --THE FUTURIST CINEMA (Italy, 1916) --LENIN DECREE (USSR, 1919) --THE ABCs OF CINEMA (France, 1917-1921) --WE: VARIANT OF A MANIFESTO (USSR, 1922) --THE METHOD OF MAKING WORKERS' FILMS (USSR, 1925) --CONSTRUCTIVISM IN THE CINEMA (USSR, 1928) --PREFACE: UN CHIEN ANDALOU (France, 1928) --MANIFESTO OF THE SURREALISTS CONCERNING L'AGE D'OR (France, 1930) --MANIFESTO ON "QUE VIVA MEXICO" (USA, 1933) --SPIRIT OF TRUTH (France, 1933) --AN OPEN LETTER TO THE FILM INDUSTRY AND TO ALL WHO ARE INTERESTED IN THE EVOLUTION OF THE GOOD FILM (Hungary, 1934) --LIGHT*FORM*MOVEMENT *SOUND (USA, 1935) --PROLEGOMENA FOR ALL FUTURE CINEMA (France, 1952) --NO MORE FLAT FEET! (France, 1952) --THE LETTRISTES DISAVOW THE INSULTERS OF CHAPLIN (France, 1952) --THE ONLY DYNAMIC ART (USA, 1953) --A STATEMENT OF PRINCIPLES (USA, 1961) --THE FIRST STATEMENT OF THE NEW AMERICAN CINEMA GROUP (USA, 1961) --FOUNDATION FOR THE INVENTION AND CREATION OF ABSURD MOVIES (USA, 1962) --FROM METAPHORS ON VISION (USA, 1963) --KUCHAR 8mm FILM MANIFESTO (USA, 1964) --FILM ANDEPANDAN [INDEPENDENTS] MANIFESTO (Japan, 1964) --DISCONTINUOUS FILMS (Canada, 1967) --HAND-MADE FILMS MANIFESTO (Australia, 1968) --CINEMA MANIFESTO (Australia, 1971) --FOR A METAHISTORY OF FILM: COMMONPLACE NOTES AND HYPOTHESES (USA, 1971) --ELEMENTS OF THE VOID (Greece, 1972) --SMALL GAUGE MANIFESTO (USA, 1980) --CINEMA OF TRANSGRESSION MANIFESTO (USA, 1985) --MODERN, ALL TOO MODERN (USA, 1988) --OPEN LETTER TO THE EXPERIMENTAL FILM CONGRESS: LET'S SET THE RECORD STRAIGHT (Canada, 1989) --ANTI-100 YEARS OF CINEMA MANIFESTO (USA, 1996) --THE DECALOGUE (Czech Republic, 1999) --YOUR FILM FARM MANIFESTO ON PROCESS CINEMA (Canada, 2012) --2. NATIONAL AND TRANSNATIONAL CINEMAS --FROM "THE GLASS EYE" (Italy, 1933) --THE ARCHERS' MANIFESTO (UK, 1942) --WHAT IS WRONG WITH INDIAN FILMS? (India, 1948) --BUÑUEL THE POET (Mexico, 1951) --FRENCH CINEMA IS OVER (France, 1952) --SOME IDEAS ON THE CINEMA (Italy, 1953) --A CERTAIN TENDENCY IN FRENCH CINEMA (France, 1954) --SALAMANCA MANIFESTO & CONCLUSIONS OF THE CONGRESS OF SALAMANCA (Spain, 1955) --FREE CINEMA MANIFESTOS (UK, 1956-1959) --THE OBERHAUSEN MANIFESTO (West Germany, 1962) --UNTITLED [OBERHAUSEN 1965] (West Germany, 1965) --THE MANNHEIM DECLARATION (West Germany, 1967) --SITGES MANIFESTO (Spain, 1967) --HOW TO MAKE A CANADIAN FILM (Canada, 1967) --HOW TO NOT MAKE A CANADIAN FILM (Canada, 1967) --FROM "THE ESTATES GENERAL OF THE FRENCH CINEMA, MAY 1968" (France, 1968) --MANIFESTO OF THE NEW CINEMA MOVEMENT (India, 1968) --WHAT IS TO BE DONE? (France, 1970) --THE WINNIPEG MANIFESTO (Canada, 1974) --HAMBURG DECLARATION OF GERMAN FILMMAKERS (West Germany, 1979) --MANIFESTO I (Denmark, 1984) --MANIFESTO II (Denmark, 1987) --MANIFESTO III: I CONFESS! (Denmark, 1990) --THE CINEMA WE NEED (Canada, 1985) --PATHWAYS TO THE ESTABLISHMENT OF A NIGERIAN FILM INDUSTRY (Nigeria, 1985) --MANIFESTO OF 1988 (German Democratic Republic, 1988) --IN PRAISE OF A POOR CINEMA (Scotland, 1993) --DOGME '95 MANIFESTO AND VOW OF CHASTITY (Denmark, 1995) --I SINEMA MANIFESTO (Indonesia, 1999) --3. THIRD CINEMAS, COLONIALISM, DECOLONIZATION, AND POSTCOLONIALISM --MANIFESTO OF THE NEW CINEMA GROUP (Mexico, 1961) --CINEMA AND UNDERDEVELOPMENT (Argentina, 1962) --THE AESTHETICS OF HUNGER (Brazil, 1965) --FOR AN IMPERFECT CINEMA (Cuba, 1969) --TOWARDS A THIRD CINEMA: NOTES AND EXPERIENCES FOR THE DEVELOPMENT OF A CINEMA OF LIBERATION IN THE THIRD WORLD (Argentina, 1969) --FILM MAKERS AND THE POPULAR GOVERNMENT POLITICAL MANIFESTO (Chile, 1970) --CONSCIOUSNESS OF A NEED (Uruguay, 1970) --MILITANT CINEMA: AN INTERNAL CATEGORY OF THIRD CINEMA (Argentina, 1971) --FOR COLOMBIA 1971: MILITANCY AND CINEMA (Colombia, 1971) --THE CINEMA: ANOTHER FACE OF COLONISED QUÉBEC (Canada, 1971) --8 MILLIMETERS VERSUS 8 MILLIONS (Mexico, 1972) --MANIFESTO OF THE PALESTINIAN CINEMA GROUP (Palestine, 1973) --RESOLUTIONS OF THE THIRD WORLD FILMMAKERS MEETING (Algeria, 1973) --THE LUZ E AÇÃO MANIFESTO (Brazil, 1973) --PROBLEMS OF FORM AND CONTENT IN REVOLUTIONARY CINEMA (Bolivia, 1976) --MANIFESTO OF THE NATIONAL FRONT OF CINEMATOGRAPHERS (Mexico, 1975) --THE ALGIERS CHARTER ON AFRICAN CINEMA (Algeria, 1975) --DECLARATION OF PRINCIPLES AND GOALS OF THE NICARAGUAN INSTITUTE OF CINEMA (Nicaragua, 1979) --WHAT IS THE CINEMA FOR US? (Mauritania, 1979) --NIAMEY MANIFESTO OF AFRICAN FILMMAKERS (Niger, 1982) --BLACK INDEPENDENT FILMMAKING: A STATEMENT BY THE BLACK AUDIO FILM COLLECTIVE (UK, 1983) --FROM BIRTH CERTIFICATE OF THE INTERNATIONAL SCHOOL OF CINEMA AND TELEVISION IN SAN ANTONIO DE LOS BAÑOS, CUBA, NICKNAMED THE SCHOOL OF THREE WORLDS (Cuba, 1986) --FeC AViP MANIFESTO (France, 1990) --FINAL COMMUNIQUE OF THE FIRST FRONTLINE FILM FESTIVAL AND WORKSHOP (Zimbabwe, 1990) --POCHA MANIFESTO #1 (USA, 1994) --POOR CINEMA MANIFESTO (Cuba, 2004) --JOLLYWOOD MANIFESTO (Haiti, 2008) --THE TORONTO DECLARATION: NO CELEBRATION OF OCCUPATION (Canada, 2009) --4. GENDER, FEMINIST, QUEER, SEXUALITY, AND PORN MANIFESTOS --WOMAN'S PLACE IN PHOTOPLAY PRODUCTION (USA, 1914) --HANDS OFF LOVE (France, 1927) --THE PERFECT FILMIC APPOSITENESS OF MARIA MONTEZ (USA, 1962) --ON FILM NO. 4 (IN TAKING THE BOTTOMS OF 365 SAINTS OF OUR TIME) (UK, 1967) --STATEMENT (USA, 1969) --WET DREAM FILM FESTIVAL MANIFESTO (The Netherlands, 1970) --WOMEN'S CINEMA AS COUNTERCINEMA (UK, 1973) --MANIFESTO FOR A NON-SEXIST CINEMA (Canada, 1974) --WOMANIFESTO (USA, 1975) --VISUAL PLEASURE AND NARRATIVE CINEMA (UK, 1975) --AN EGRET IN THE PORNO SWAMP: NOTES OF SEX IN THE CINEMA (Sweden, 1977) --FOR THE SELF-EXPRESSION OF THE ARAB WOMAN (France, 1978) --MANIFESTO OF THE WOMEN FILMMAKERS (West Germany, 1979) --WIMMIN'S FIRE BRIGADE COMMUNIQUÉ (Canada, 1982) --THOUGHTS ON WOMEN'S CINEMA: EATING WORDS, VOICING STRUGGLES (USA, 1986) --THE POST PORN MODERNIST MANIFESTO (USA, 1989) --STATEMENT OF AFRICAN WOMEN PROFESSIONALS OF CINEMA, TELEVISION AND VIDEO (Burkina Faso, 1991) --PUZZY POWER MANIFESTO: THOUGHTS ON WOMEN AND PORNOGRAPHY (Denmark, 1998) --CINEMA WITH TITS (Spain, 1998) --MY PORN MANIFESTO (France, 2002) --NO MORE MR. NICE GAY: A MANIFESTO (USA, 2009) --BAREFOOT FILMMAKING MANIFESTO (UK, 2009) --DIRTY DIARIES MANIFESTO (Sweden, 2009) --5. MILITATING HOLLYWOOD --CODE TO GOVERN THE MAKING OF TALKING, SYNCHRONIZED AND SILENT MOTION PICTURES (MOTION PICTURE PRODUCTION CODE) (USA, 1930) --RED FILMS: SOVIETS SPREADING DOCTRINE IN U.S. THEATRES (USA, 1935) --STATEMENT OF PRINCIPLES (USA, 1944) --SCREEN GUIDE FOR AMERICANS (USA, 1947) --WHITE ELEPHANT ART VS. TERMITE ART (USA, 1962) --SUPER FLY: A SUMMARY OF OBJECTIONS BY THE KUUMBA WORKSHOP (USA, 1972) --FULL FRONTAL MANIFESTO (USA, 2001) --6. THE CREATIVE TREATMENT OF ACTUALITY --TOWARDS A SOCIAL CINEMA (France, 1930) --FROM "FIRST PRINCIPLES OF DOCUMENTARY" (UK, 1932) --MANIFESTO ON THE DOCUMENTARY FILM (UK, 1933) --DECLARATION OF THE GROUP OF THIRTY (France, 1953) --INITIAL STATEMENT OF THE NEWSREEL (USA, 1967) --NOWSREEL, OR THE POTENTIALITIES OF A POLITICAL CINEMA (USA, 1970) --DOCUMENTARY FILMMAKERS MAKE THEIR CASE (Poland, 1971) --THE ASIAN FILMMAKERS AT YAMAGATA YIDFF MANIFESTO (Japan, 1989) --MINNESOTA DECLARATION: TRUTH AND FACT IN DOCUMENTARY CINEMA (Germany, 1999) --DEFOCUS MANIFESTO (Denmark, 2000) --KILL THE DOCUMENTARY AS WE KNOW IT (USA, 2002) --ETHNOGRAPHIC CINEMA (EC): A MANIFESTO / A PROVOCATION (USA, 2003) --REALITY CINEMA MANIFESTO (Russia, 2005) --DOCUMENTARY MANIFESTO (USA, 2008) --CHINA INDEPENDENT FILM FESTIVAL MANIFESTO: SHAMANS * ANIMALS (People's Republic of China, 2011) --7.STATES, DICTATORSHIPS, THE COMINTERN, AND THEOCRACIES --CAPTURE THE FILM! HINTS ON THE USE OF, OUT OF THE USE OF, PROLETARIAN FILM PROPAGANDA (USA, 1925) --THE LEGION OF DECENCY PLEDGE (USA, 1934) --CREATIVE FILM (Germany, 1935) --VIGILANTI CURA: ON MOTION PICTURES (Vatican City, 1936) --FOUR CARDINAL POINTS OF A REVOLUÇÃO DE MAIO (Portugal, 1937) --FROM ON THE ART OF CINEMA (North Korea, 1973) --8. ARCHIVES, MUSEUMS, FESTIVALS, AND CINEMATHEQUES --A NEW SOURCE OF HISTORY: THE CREATION OF A DEPOSITORY FOR HISTORICAL CINEMATOGRAPHY (Poland/France, 1898) --THE FILM PRAYER (USA, c. 1920) --THE FILM SOCIETY (UK, 1925) --FILMLIGA MANIFESTO (The Netherlands, 1927) --STATEMENT OF PURPOSES (USA, 1948) --THE IMPORTANCE OF FILM ARCHIVES (UK, 1948) --A PLEA FOR A CANADIAN FILM ARCHIVE (Canada, 1949) --OPEN LETTER TO FILM-MAKERS OF THE WORLD (USA, 1966) --A DECLARATION FROM THE COMMITTEE FOR THE DEFENSE OF LA CINÉMATHÈQUE FRANÇAISE (France, 1968) --FILMMAKERS VERSUS THE MUSEUM OF MODERN ART (USA, 1969) --ANTHOLOGY FILM ARCHIVES MANIFESTO (USA, 1970) --TOWARD AN ETHNOGRAPHIC FILM ARCHIVE (USA, 1971) --BROOKLYN BABYLON CINEMA MANIFESTO (USA, 1998) --DON'T THROW FILM AWAY: THE FIAF 70th ANNIVERSARY MANIFESTO (France, 2008) --THE LINDGREN MANIFESTO: THE FILM CURATOR OF THE FUTURE (Italy, 2010) --FILM FESTIVAL FORM: A MANIFESTO (UK, 2012) --9. SOUNDS AND SILENCE --A STATEMENT ON SOUND (USSR, 1928) --A REJECTION OF THE TALKIES (USA, 1931) --A DIALOGUE ON SOUND: A MANIFESTO (UK, 1934) --AMALFI MANIFESTO (Italy, 1967) --10. THE DIGITAL REVOLUTION --CULTURE: INTERCOM AND EXPANDED CINEMA: A PROPOSAL AND MANIFESTO (USA, 1966) --THE DIGITAL REVOLUTION AND THE FUTURE CINEMA (Iran, 2000) --THE PLUGINMANIFESTO (UK, 2001) --DIGITAL DEKALOGO: A MANIFESTO FOR A FILMLESS PHILIPPINES (The Philippines, 2003) --11. AESTHETICS AND THE FUTURES OF THE CINEMA --THE BIRTH OF THE SIXTH ART (France, 1911) --THE BIRTH OF A NEW AVANT GARDE: LA CAMÉRA-STYLO (France, 1948) --FROM PREFACE TO FILM (UK, 1954) --THE SNAKESKIN (Sweden, 1965) --MANIFESTO (Italy, 1965) --MANIFESTO ON THE RELEASE OF LA CHINOISE (France, 1967) --DIRECT ACTION CINEMA MANIFESTO (USA, 1985) --REMODERNIST FILM MANIFESTO (USA, 2008) --THE AGE OF AMATEUR CINEMA WILL RETURN (People's Republic of China, 2010) --APPENDIX --NOTES --ACKNOWLEDGMENTS OF PERMISSIONS --INDEXFilm Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.Motion picturesPhilosophyMotion picturesCulture in motion picturesamerican film.australian film.avant garde.canadian film.cinema.colonialism.cultural studies.culture.european filmmakers.film and digital media.film archives.film culture.film manifestos.film studies.film.filmmaking.films from the soviet union.french film.gender and women studies.global cinema.global film.global history of cinema.hollywood.international cinema.italian film.japanese film.latin america third cinema.motion picture production code.national cinema.pornography.radical film.russian film.Motion picturesPhilosophy.Motion pictures.Culture in motion pictures.791.4301MacKenzie Scott1967-1517887MacKenzie Scottedthttp://id.loc.gov/vocabulary/relators/edtMiAaPQMiAaPQMiAaPQBOOK9910789286303321Film manifestos and global cinema cultures3795747UNINA05642nam 2200853 450 991082085810332120230515054930.01-4426-5563-11-4426-2308-X10.3138/9781442623088(CKB)3710000000329270(EBL)3296770(OCoLC)903968144(OCoLC)903441077(OCoLC)904376542(MiAaPQ)EBC4669950(CEL)449415(OCoLC)903441077(CaBNVSL)thg00916135(DE-B1597)465632(OCoLC)944178901(DE-B1597)9781442623088(Au-PeEL)EBL4669950(CaPaEBR)ebr11256464(OCoLC)958580514(OCoLC)1055585736(MdBmJHUP)musev2_106969(EXLCZ)99371000000032927020160920h19951995 uy 0engur|n|---|||||rdacontentrdamediardacarrierFeminism in women's detective fiction /edited by Glenwood IronsToronto, [Ontario] ;Buffalo, [New York] ;London, [England] :University of Toronto Press,1995.©19951 online resource (217 p.)Heritage0-8020-6954-1 Includes bibliographical references.Introduction. Gender and genre : the woman detective and the diffusion of generic voices -- Amelia Butterworth : the spinster detective / Joan Warthling Roberts -- The detective heroine and the death of her hero : Dorothy Sayers to P.D. James / SueEllen Campbell -- Gray areas : P.D. James's unsuiting of Cordelia / Nicola Nixon -- Questing women : the feminist mystery after feminism / Sandra Tomc -- From spinster to hipster : the 'suitability' of Miss Marple and Anna Lee / Glenwood Irons and Joan Warthling Roberts -- Nancy Drew : the once and future prom queen / Bobbie Ann Mason -- Feminist murder : Amanda Cross reinvents womanhood / Jeanne Addison Roberts -- Murders academic : women professors and the crimes of gender / Susan J. Leonardi -- Talkin' trash and kickin' butt : Sue Grafton's hard-boiled feminism / Scott Christianson -- The female dick and the crisis of heterosexuality / Ann Wilson -- 'Friends is a weak word for it': female friendship and the spectre of lebianism in Sara Paretsky / Rebecca A. Pope -- Habeass corpus: feminism and detective fiction / Kathleen Gregory Klein.Names such as Sherlock Holmes, Hercule Poirot, and Sam Spade are perhaps better known than the names of the authors who created them. The woman detective has also had worldwide appeal; yet, with the exception of Christie's Miss Marple, the names of female detectives and their authors have only recently gained wide attention through the popularity of Marcia Muller, Sue Grafton, and Sara Paretsky.The essays in this collection grapple with a wide range of issues important to the female sleuth - the most important, perhaps, being the oft-heard challenge to her suitability for the job. Not surprisingly, gender issues are the main focus of all the essays; indeed, in detective novels with a woman protagonist, these issues are often right at the surface.Some of the papers see the female sleuth as an important force in popular fiction, but many also challenge the notion that the woman detective is a positive model for feminists. They argue that fictional female sleuths have lost the `otherness' that a feminine approach to the genre should encourage. Collectively, the essays also reveal the differences between British and American perspectives on the woman detective.Detective and mystery stories, EnglishHistory and criticismDetective and mystery stories, AmericanHistory and criticismFeminism and literatureEnglish-speaking countriesHistory20th centuryWomen and literature |zEnglish-speaking countries |xHistory|y20th centuryEnglish-speaking countriesHistory20th centuryAmerican fictionWomen authorsHistory and criticismEnglish fictionWomen authorsHistory and criticismFeminist fiction, AmericanHistory and criticismFeminist fiction, EnglishHistory and criticismEnglish-speaking countriesfastHistory.Detective and mystery stories, English.Detective and mystery stories, American.Criticism, interpretation, etc.Detective and mystery stories, EnglishHistory and criticism.Detective and mystery stories, AmericanHistory and criticism.Electronic books. Detective and mystery stories, EnglishHistory and criticism.Detective and mystery stories, AmericanHistory and criticism.Feminism and literatureHistoryWomen and literature |zEnglish-speaking countries |xHistory|y20th centuryEnglish-speaking countriesHistoryAmerican fictionWomen authorsHistory and criticism.English fictionWomen authorsHistory and criticism.Feminist fiction, AmericanHistory and criticism.Feminist fiction, EnglishHistory and criticism.823.0872099287Irons Glenwood(Glenwood Henry),1951-MiAaPQMiAaPQMiAaPQBOOK9910820858103321Feminism in women's detective fiction4123810UNINA