Найти книгу: "Mock Classicism"

In <I>Mock Classicism</I> Nilo Couret presents an alternate history of Latin American cinema that traces the popularity and cultural significance of film comedies as responses to modernization and the forerunners to a more explicitly political New Latin American Cinema of the 1960s. By examining the linguistic play of comedians such as Cantinflas, Oscarito and Grande Otelo, Nin&iacute; Marshall, and Luis Sandrini, the author demonstrates aspects of Latin American comedy that operate via embodiment on one hand and spatiotemporal emplacement on the other. Taken together, these parallel examples of comedic practice demonstrate how Latin American film comedies produce a &quot;critically proximate&quot; spectator who is capable of perceiving and organizing space and time differently. Combining close readings of films, archival research, film theory, and Latin American history, <I>Mock Classicism</I> rethinks classicism as a discourse that mediates and renders the world and argues that Latin American cinema became classical in distinct ways from Hollywood.<BR /> &#160;

&lt;P&gt;Celluloid Classicism provides a rich and detailed history of two important modern South Indian cultural forms: Tamil Cinema and Bharatanatyam dance. It addresses representations of dance in the cinema from an interdisciplinary, critical-historical perspective. The intertwined and symbiotic histories of these forms have never received serious scholarly attention. For the most part, historians of South Indian cinema have noted the presence of song and dance sequences in films, but have not historicized them with reference to the simultaneous revival of dance culture among the middle-class in this region. In a parallel manner, historians of dance have excluded deliberations on the influence of cinema in the making of the «classical» forms of modern India. Although the book primarily focuses on the period between the late 1920s and 1950s, it also addresses the persistence of these mid-twentieth century cultural developments into the present. The book rethinks the history of Bharatanatyam in the twentieth century from an interdisciplinary, transmedia standpoint and features 130 archival images.&lt;/P&gt;

After centuries of near silence, Latin poetry underwent a renaissance in the late fourth and fifth centuries CE evidenced in the works of&#160;key figures such as Ausonius, Claudian, Prudentius, and Paulinus of Nola. This period of resurgence marked&#160;a milestone in the reception of the classics of late Republican and early imperial poetry. In <I>Classicism and Christianity in Late Antique Latin Poetry,</I> Philip Hardie explores the ways in which poets writing on non-Christian and Christian subjects used the classical traditions of Latin poetry to construct&#160;their relationship with Rome&rsquo;s imperial past and present, and with the by now not-so-new belief system of the state religion, Christianity. The book pays particular attention to the themes of concord and discord, the &quot;cosmic sense&quot; of late antiquity, novelty and <I>renouatio</I>, paradox and miracle, and allegory. It is also a contribution to the ongoing discussion of whether there is an identifiably late antique poetics and a late antique practice of intertextuality. Not since Michael Robert&#39;s classic <I>The Jeweled Style</I> has a single book had so much to teach about the enduring power of Latin poetry in late antiquity.<BR /> &#160;