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A magical celebration of friendship - and the perfect bedtime story for every child who dreams of a horse of their own!
Once there was a horse ... that jumped.
It jumped over a flower.
It jumped over a rock.
It jumped right over a fence ... and out into the world.
Jumping through country and town, the horse meets a girl, and together they keep on jumping: over waves and mountains, over clouds, the sun and the moon ... into a world of stars and dreams.
From the bestselling illustrator of The Snatchabook!
Exploring the controversial history of an aesthetic - realism - this book examines the role that realism plays in the negotiation of social, political, and material realities from the mid-19th century to the present day.
Examining a broad range of literary texts from French, English, Italian, German, and Russian writers, this book provides new insights into how realism engages with themes including capital, social decorum, the law and its politicisation, modern science as a determining factor concerning truth, and the politics of identity. Considering works from Gustave Flaubert, Charles Baudelaire, Émile Zola, Henry James, Charles Dickens, and George Orwell, Docherty proposes a new philosophical conception of the politics of realism in an age where politics feels increasingly erratic and fantastical.
Contemporary criticism of Donne has tended to ignore the historical culture and ideology that conditioned his writings, reinforcing the traditionally accepted model of the poet as a humanist of ethical, cultural and political individualism. In this title, first published in 1986, Thomas Docherty challenges this with a more rigorously theoretical reading of Donne, particularly in relation to the specific culture of the late Renaissance in Europe. Docherty locates Donne's poetry at the crux of the various scientific, legal, domestic and rhetorical discourses that surrounded and informed it. With a broadly post-structuralist approach, this reissue will benefit literature students with an interest in the wider study and context of John Donne's work.
Contemporary criticism of Donne has tended to ignore the historical culture and ideology that conditioned his writings, reinforcing the traditionally accepted model of the poet as a humanist of ethical, cultural and political individualism. In this title, first published in 1986, Thomas Docherty challenges this with a more rigorously theoretical reading of Donne, particularly in relation to the specific culture of the late Renaissance in Europe. Docherty locates Donne's poetry at the crux of the various scientific, legal, domestic and rhetorical discourses that surrounded and informed it. With a broadly post-structuralist approach, this reissue will benefit literature students with an interest in the wider study and context of John Donne's work.
This book explores what is at stake in our confessional culture. Thomas Docherty examines confessional writings from Augustine to Montaigne and from Sylvia Plath to Derrida, arguing that through all this work runs a philosophical substratum - the conditions under which it is possible to assert a confessional mode - that needs exploration and explication.
Docherty outlines a philosophy of confession that has pertinence for a contemporary political culture based on the notion of 'transparency'. In a postmodern 'transparent society', the self coincides with its self-representations. Such a position is central to the idea of authenticity and truth-telling in confessional writing: it is the basis of saying, truthfully, 'here I take my stand'.
The question is: what other consequences might there be of an assumption of the primacy of transparency? Two areas are examined in detail: the religious and the judicial. Docherty shows that despite the tendency to regard transparency as a general social and ethical good, our contemporary culture of transparency has engendered a society in which autonomy (or the very authority of the subject that proclaims 'I confess') is grounded in guilt, reparation and victimhood.
The arguments over postmodernism are among the most important intellectual debates of our time. Going beyond the poststructuralist controversy in its interdisciplinary scope, postmodernism questions the fundamental civil, political, ethical, and cultural criteria that make criticism and theory available, necessary, legitimate, or, indeed, even possible. But given that the key texts are widely scattered, the broad range of arguments remains relatively unknown.
Postmodernism: A Reader gathers in one volume a comprehensive selection of articles, essays, and statements by leading figures -- among them Lyotard, Habemas, Jameson, Baudrillard, Eco, and Rorty -- writing across the divergent terrains on which the struggles over postmodernism are taking place: in the fields of philosophy and politics, in the artistic and cultural avant-garde, architecture and urbanicity, feminism and ecology, and in the Third world. The material assembled here enables a serious and rigorous consideration of the question Are we at -- and should we endore -- the end of modernity?
This book explores what is at stake in our confessional culture. Thomas Docherty examines confessional writings from Augustine to Montaigne and from Sylvia Plath to Derrida, arguing that through all this work runs a philosophical substratum - the conditions under which it is possible to assert a confessional mode - that needs exploration and explication.
Docherty outlines a philosophy of confession that has pertinence for a contemporary political culture based on the notion of 'transparency'. In a postmodern 'transparent society', the self coincides with its self-representations. Such a position is central to the idea of authenticity and truth-telling in confessional writing: it is the basis of saying, truthfully, 'here I take my stand'.
The question is: what other consequences might there be of an assumption of the primacy of transparency? Two areas are examined in detail: the religious and the judicial. Docherty shows that despite the tendency to regard transparency as a general social and ethical good, our contemporary culture of transparency has engendered a society in which autonomy (or the very authority of the subject that proclaims 'I confess') is grounded in guilt, reparation and victimhood.
