LEADER 03108nam 2200661Ia 450 001 9910454048103321 005 20200520144314.0 010 $a0-8166-6623-7 035 $a(CKB)1000000000755480 035 $a(EBL)433199 035 $a(OCoLC)320841196 035 $a(SSID)ssj0000246656 035 $a(PQKBManifestationID)11200220 035 $a(PQKBTitleCode)TC0000246656 035 $a(PQKBWorkID)10188965 035 $a(PQKB)10090463 035 $a(MiAaPQ)EBC433199 035 $a(MdBmJHUP)muse39766 035 $a(Au-PeEL)EBL433199 035 $a(CaPaEBR)ebr10280044 035 $a(CaONFJC)MIL523329 035 $a(EXLCZ)991000000000755480 100 $a20081016d2009 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSkyscraper cinema$b[electronic resource] $earchitecture and gender in American film /$fMerrill Schleier 210 $aMinneapolis $cUniversity of Minnesota Press$dc2009 215 $a1 online resource (388 p.) 300 $aDescription based upon print version of record. 311 $a0-8166-4282-6 311 $a0-8166-4281-8 320 $aIncludes bibliographical references (p. 283-344) and index. 327 $aIntroduction: Constructing the American skyscraper film -- From stumbling blocks to stepping stones : Harold Lloyd's skyscraper films -- Icons of exploitation : gender and class disharmony in the Depression-era skyscraper office -- Masculine heroes, modernism, and political ideology in The fountainhead and The big clock -- Mid-century corporate renewal and gender realignment in Executive suite and Desk set -- Postscript: Recent skyscraper films. 330 $aWhether tall office buildings, high-rise apartments, or lofty hotels, skyscrapers have been stars in American cinema since the silent era. Cinema's tall buildings have been variously represented as unbridled aspiration, dens of iniquity and eroticism, beacons of democracy, and well-oiled corporate machines. Considering their intriguing diversity, Merrill Schleier establishes and explains the impact of actual skyscrapers on America's ideologies about work, leisure, romance, sexual identity, and politics as seen in Hollywood movies. Schleier analyzes cinematic works in which skyscrapers are an i 606 $aSkyscrapers in motion pictures 606 $aSex role in motion pictures 606 $aMasculinity in motion pictures 606 $aSocial classes in motion pictures 606 $aMotion pictures$zUnited States$xHistory$y20th century 608 $aElectronic books. 615 0$aSkyscrapers in motion pictures. 615 0$aSex role in motion pictures. 615 0$aMasculinity in motion pictures. 615 0$aSocial classes in motion pictures. 615 0$aMotion pictures$xHistory 676 $a791.43656 676 $a791.43657 700 $aSchleier$b Merrill$0511219 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910454048103321 996 $aSkyscraper cinema$92464538 997 $aUNINA LEADER 03618nam 2200589Ia 450 001 9910463066403321 005 20200520144314.0 010 $a1-4438-1043-6 035 $a(CKB)2670000000341146 035 $a(EBL)1133055 035 $a(OCoLC)830168369 035 $a(SSID)ssj0000833799 035 $a(PQKBManifestationID)11519922 035 $a(PQKBTitleCode)TC0000833799 035 $a(PQKBWorkID)10935880 035 $a(PQKB)10151067 035 $a(MiAaPQ)EBC1133055 035 $a(Au-PeEL)EBL1133055 035 $a(CaPaEBR)ebr10677014 035 $a(CaONFJC)MIL495889 035 $a(EXLCZ)992670000000341146 100 $a20080130d2007 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 00$aOn the turn$b[electronic resource] $ethe ethics of fiction in contemporary narrative in English /$fedited by Barbara Arizti and Silvia Martinez-Falquina 210 $aNewcastle, UK $cCambridge Scholars Pub.$d2007 215 $a1 online resource (448 p.) 300 $aDescription based upon print version of record. 311 $a1-84718-358-1 320 $aIncludes bibliographical references. 327 $aTABLE OF CONTENTS; INTRODUCTION; PART I; "THANKLESS EARTH, BUT NOT ENTIRELY"; VISCERAL PERTURBATIONS AND HUMAN JUDGEMENT; IAN MCEWAN'S BLACK DOGS (1992) AND THE ETHICS OF A POST-POSTMODERN CRITICAL NEO-HUMANISM; PART II; THE ETHICS OF NARRATIVE FORM IN A.S. BYATT'S BABEL TOWER; THE ETHICS OF ROMANCE; A MOST (UN-)ETHICAL STANCE; TAKING OURSELVES FOR POETRY; PART III; BEYOND CODUCTION, REDRESSING SKINS; "I KNOW NOW THAT THIS IS THE WAY ...THE FINAL METAMORPHOSIS. I MUST DRIVE OUT MY OLD SELF AND LET THE UNIVERSE IN" 327 $aSELF-RESPONSIBILITY AND THE ARTICULATION OF IDENTITY AS REFLECTED IN JANETTE TURNER HOSPITAL'S THE LAST MAGICIAN AND OYSTER THE ETHICS AND POLITICS OF REPRESENTATION IN A CLIMATE OF ISLAMOPHOBIA; EQUITY AS ETHICAL PRINCIPLE IN (POST-)COLONIAL LITERATURES; PART IV; THE RELEVANCE OF ORWELLIAN POLITICAL ETHICS TODAY; SERIOUSLY FUNNY AND YET NO LAUGHING MATTER; FASCISM AND NEUROSIS IN SPAIN; HISTORICAL REFLECTIONS, IMAGES, AND ETHICAL SUMMONS IN E.L. DOCTOROW'S THE MARCH; PART V; SYMPATHY FOR THE DEVIL? VISIONARY WRITING AND ETHICAL UNREADABILITY IN FLANNERY O'CONNOR'S TALES 327 $a"HOW CAN YOU SAY THEY'RE LIKE YOU AND ME?"THE ETHICS OF THE ADJOINING; NEW VOCABULARY OF ATTENTION; THE DANGERS AND ADVANTAGES OF THE RETURN TO ETHICS IN LITERARY CRITICISM; FINDING WHAT YOU WANT IN PAUL AUSTER'S CITY OF GLASS; LIST OF CONTRIBUTORS 330 $aOn the Turn: The Ethics of Fiction in Contemporary Narrative in English is an attempt to listen to the various voices that participate in the current dialogue on the relationship between fiction and ethics. The editors' introduction investigates the current state of affairs on the return to ethics in critical and literary consideration, and it opens up the way for the variety of approaches that follows. Participants include internationally recognized scholars like Andrew Gibson, Patricia Wau... 606 $aEthics in literature 606 $aEnglish fiction$y20th century$xHistory and criticism 608 $aElectronic books. 615 0$aEthics in literature. 615 0$aEnglish fiction$xHistory and criticism. 676 $a823.9209 701 $aArizti$b Barbara$0908564 701 $aMartinez-Falquina$b Silvia$0908565 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910463066403321 996 $aOn the turn$92032072 997 $aUNINA