"Drawing on memoirs, archives, and interviews, Davis and Trani trace American prejudice toward Russia and China by focusing on the views of influential writers and politicians over the course of the twentieth century, showing where American images originated and how they evolved"--Provided by publisher.

The Distorting Mirror analyzes the multiple and complex ways in which urban Chinese subjects saw themselves interacting with the new visual culture that emerged during the turbulent period between the 1880s and the 1930s. The media and visual forms examined include lithography, photography, advertising, film, and theatrical performances. Urbanites actively engaged with and enjoyed this visual culture, which was largely driven by the subjective desire for the empty promises of modernity—promises comprised of such abstract and fleeting concepts as new, exciting, and fashionable. Detailing and analyzing the trajectories of development of various visual representations, Laikwan Pang emphasizes their interactions. In doing so, she demonstrates that visual modernity was not only a combination of independent cultural phenomena, but also a partially coherent sociocultural discourse whose influences were seen in different and collective parts of the culture. The work begins with an overall historical account and theorization of a new lithographic pictorial culture developing at the end of the nineteenth century and an examination of modernity’s obsession with the investigation of the real. Subsequent chapters treat the fascination with the image of the female body in the new visual culture; entertainment venues in which this culture unfolded and was performed; how urbanites came to terms with and interacted with the new reality; and the production and reception of images, the dynamics between these two being a theme explored throughout the book. Modernity, as the author shows, can be seen as spectacle. At the same time, she demonstrates that, although the excessiveness of this spectacle captivated the modern subject, it did not completely overwhelm or immobilize those who engaged with it. After all, she argues, they participated in and performed with this ephemeral visual culture in an attempt to come to terms with their own new, modern self.

This collection brings togethet some of Laxman's best short stories, travelogues about the United State, Australia, the Andamans, Darjeeling etc

How did Spanish-American writers and veterans in the late sixteenth and early seventeenth century use epic poetry to search for ethical solutions to the violent conflicts of their age?Winner of the 2017-18 AHGBI-Spanish Embassy Publication Prize The Epic Mirror studies how Spanish-American writers and veterans in the late sixteenth and early seventeenth century used epic poetry to search for ethical solutions to the violent conflicts of their age. The wars about which they wrote took place at the frontiers of the Spanish empire, where new political communities were emerging: fiercely independent Amerindian republics, rebellious Spanish settlers, maroon kingdoms of fugitive African slaves. This colonial reality generated a distinctive vision of just warfare and political community. Working across the fields of Hispanic literature, the history of political thought, and studies of empire, colonialism and globalisation, Choi reinterprets three major works of colonial Latin American literature: Alonso de Ercilla's La Araucana (1569-90), Pedro de Oña's Arauco domado (1596), and Juan de Miramontes Zuázola's Armas antárticas (1608-9). She argues that these works provide a rare insight into the development of political thought in Viceregal Peru. Through the imaginative mirrors of epic, the reader is forced to ask the same questions of the unfinished conquests of the Americas as of those in Africa, Asia or Europe: when conflicting forces are divided by irreconcilable world views, even if the war is won, how is it possible to achieve peace?'s La Araucana (1569-90), Pedro de Oña's Arauco domado (1596), and Juan de Miramontes Zuázola's Armas antárticas (1608-9). She argues that these works provide a rare insight into the development of political thought in Viceregal Peru. Through the imaginative mirrors of epic, the reader is forced to ask the same questions of the unfinished conquests of the Americas as of those in Africa, Asia or Europe: when conflicting forces are divided by irreconcilable world views, even if the war is won, how is it possible to achieve peace?'s La Araucana (1569-90), Pedro de Oña's Arauco domado (1596), and Juan de Miramontes Zuázola's Armas antárticas (1608-9). She argues that these works provide a rare insight into the development of political thought in Viceregal Peru. Through the imaginative mirrors of epic, the reader is forced to ask the same questions of the unfinished conquests of the Americas as of those in Africa, Asia or Europe: when conflicting forces are divided by irreconcilable world views, even if the war is won, how is it possible to achieve peace?'s La Araucana (1569-90), Pedro de Oña's Arauco domado (1596), and Juan de Miramontes Zuázola's Armas antárticas (1608-9). She argues that these works provide a rare insight into the development of political thought in Viceregal Peru. Through the imaginative mirrors of epic, the reader is forced to ask the same questions of the unfinished conquests of the Americas as of those in Africa, Asia or Europe: when conflicting forces are divided by irreconcilable world views, even if the war is won, how is it possible to achieve peace?war is won, how is it possible to achieve peace?

A mirror, when clear, reflects an exact representation of any who stand before it. Each gift, imperfection, and scar is seen clearly and in detail. A mirror that is skewed will still portray a reflection, but the reflection will not directly represent reality. This is the general theory behind the famed Funhouse Mirrors, and why they are so intriguing. In an instant, one can see their reality differently. Sometimes we see something we dislike, and other times, we see what we prefer. Louis Bianco believes our perceptions are like mirrors, reflecting what occurs in real life back into our cognition. Skewed perceptions, much like mirrors, will distort our cognition, causing us to see reality differently than what is actually in front of us. America, is our cognition distorted? Through this book, Bianco hopes that each of us can decide for ourselves how accurately our perceptions depict reality. ***** "Louis Bianco once again provides our world with extraordinary testimony that is presented in a well-organized, scientific, and yet graceful manner. In Bianco's first creation, he challenged everything we knew about disability and diagnosis. In this powerful book, he challenges every perception we have about our country, our world, and how we see ourselves in our own 'mirror.' Funhouse Mirrors is a must for every bookshelf. I assure you, you will be grateful for this introspective journey with this gifted and brilliant author." ~ Catherine Hughes, bestselling author, blogger, coach, editor, speaker, and trainer, The Caffeinated Advocate

A scholar and bride-to-be spends a year without mirrors to get a better view of what really matters When Kjerstin Gruys became engaged, she was thrilled—until it was time to shop for a wedding dress. Having overcome an eating disorder years before, Gruys found herself struggling to maintain a positive self-image; so she decided to refocus her attention. Mirror, Mirror Off the Wall charts Gruys’s awakening as she vows to give up mirrors and other reflective surfaces, relying on friends and her fiancé to help her gauge both her appearance and outlook on life. The result? A renewed focus on what truly matters, regardless of smeared makeup or messy hair. With humorous and poignant scenes from Gruys’ life, Mirror, Mirror Off the Wall sparks important conversations about body image and reclaiming the power to define beauty.

As one of the best-known survivors of the concentration camps, Primo Levi's testimony to his experiences in Auschwitz is internationally recognised as one of the most significant works of the last century. This volume examines each of Levi's works in detail, assessing and analysing the influence of Levi's time in Auschwitz on his writing. It identifies a variety of thematic, temporal, stylistic and linguistic echoes of Levi's concentration camp testimony, and traces these echoes throughout his subsequent, apparently unrelated, work. The book provides original and fascinating insights into the works of this remarkable writer, giving readers a new understanding and perspective on the immense significance and the pervasive influence of the holocaust on Levi's creative output.