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More than fifty years after it ceased publication, Gentry magazine is still one of the most influential men's magazines ever created. Published between 1951 and 1957, this veritable style and culture bible for men is renowned for its innovation, superb design and production quality, keen eye for fashion, and excellent coverage of a broad spectrum of topics—art and culture; sports; food and drink; home, cars, and travel—not to mention diverse subjects on which every refined man should be well versed, from making a mean martini to playing craps. The Gentry Man brings together for the first time a collection of articles selected from the magazine's twenty-two issues by Hal Rubenstein, former men's style editor of the New York Times Magazine and current fashion director of InStyle. In print once again, The Gentry Man is a collectible volume that belongs in every man's library.
Popular Modernism and Its Legacies reconfigures modernist studies to investigate how modernist concepts, figures, and aesthetics continue to play essential--though often undetected--roles across an array of contemporary works, genres, and mediums. Featuring both established and emerging scholars, each of the book's three sections offers a distinct perspective on popular modernism. The first section considers popular modernism in periods historically associated with the movement, discovering hidden connections between traditional forms of modernist literature and popular culture. The second section traces modernist genealogies from the past to the contemporary era, ultimately revealing that immensely popular contemporary works, artists, and genres continue to engage and thereby renew modernist aesthetics and values. The final section moves into the 21st century, discovering how popular works invoke modernist techniques, texts, and artists to explore social and existential quandaries in the contemporary world. Concluding with an afterword from noted scholar Faye Hammill, Popular Modernism and Its Legacies reshapes the study of modernism and provides new perspectives on important works at the center of our cultural imagination.
"Literary and Cultural Images of a Nation without a State" applies Benedict Anderson's theory about the coherence of imagined communities by tracing how Galicia, the heart of Polish culture in the nineteenth-century - which would never be an independent nation-state - emerged as a historical and cultural touchstone with present-day significance for the people of Europe. After the Three Partitions and Poland's complete disappearance from Europe's political map, images of Poland arose to replace the lost kingdom with a national identity grounded in culture and tradition rather than in politics. This book examines the circumstances leading to Galicia's emergence as the imagined and representative center of Polish culture, juxtaposing the era's political realities with its literary texts to provide evidence of the cultural community that existed among ethnic Germans and Poles. Collectively, these images reflect a dialogue about Polish identity, and in consequence about the rise of a new European identity that did not correspond to ethnic nation-states but rather to a shared culture, history, and community that Galicia came to represent until its division between Poland and the Ukraine following World War I.
On one level the novel is about the homecoming of Lavretsky, who, broken and disillusioned by a failed marriage, returns to his estate and finds love again - only to lose it. The sense of loss and of unfulfilled promise, beautifully captured by Turgenev, reflects his underlying theme that humanity is not destined to experience happiness except as something ephemeral and inevitably doomed. On another level Turgenev is presenting the homecoming of a whole generation of young Russians who have fallen under the spell of European ideas that have uprooted them from Russia, their 'home', but have proved ultimately superfluous. In tragic bewilderment, they attempt to find reconciliation with their land.
The epidemic of mass rape in the former Yugoslavia has illustrated once again, and in particularly brutal fashion, the inextricable relationship between national politics, sexual politics, and body politics. The nexus of these three forces is highly charged in any culture, at any time in history, but especially so among cultures in which rapid, even cataclysmic, changes in material realities and national self-conceptions are eroding or overwhelming previously secure boundaries. The postcommunist moment in the so-called Second World--Central and Eastern Europe and the former Soviet Union--has dramatically exposed the opportunities and dangers that arise when the political, cultural, and economic foundations of a society are de- and then re-structured. Gender roles and relations, expressions of sexuality or attempts to recontain them, representations of the body, especially the female body, and the larger, cultural meanings it assumes, are particularly marked sites to witness the performance of complex national dramas of crisis and change. This groundbreaking volume turns its attention to the Second World, specifically to such subjects as the birth of the sex media and porn industry in Russia; Russian women and alcoholism; cinema in post-communist Hungary; patriotism and gender in Poland; sexual dissidence in Eastern Europe; and women in the former Yugoslavia. [ go to the Genders website ]

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