A Cultural History of Color in the Modern Age covers the period 1920 to the present, a time of extraordinary developments in colour science, philosophy, art, design and technologies. The expansion of products produced with synthetic dyes was accelerated by mass consumerism as artists, designers, architects, writers, theater and filmmakers made us a 'color conscious' society. This influenced what we wore, how we chose to furnish and decorate our homes, and how we responded to the vibrancy and chromatic eclecticism of contemporary visual cultures.The volume brings together research on how philosophers, scientists, linguists and artists debated color's polyvalence, its meaning to different cultures, and how it could be measured, manufactured, manipulated and enjoyed. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Anders Steinvall is Senior Lecturer in English Linguistics at Umeå University, Sweden. Sarah Street is Professor of Film at the University of Bristol, UK. Volume 6 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

Germany of the 1920s offers a stunning moment in modernity, a time when surface values first became determinants of taste, activity, and occupation: modernity was still modern, spectacle was still spectacular. Janet Ward's luminous study revisits Weimar Germany via the lens of metropolitan visual culture, analyzing the power that 1920s Germany holds for today's visual codes of consumerism.

The Devil's Party follows Jason, an intellectual tenderfoot, and Lennie, a charismatic and tortured literary phenomenon, as they finish their Bachelor's degrees in Manitoba and begin graduate school at the University of Toronto. Driven by the works of William Blake and mentored by intellectual heavy-weights Northrop Frye and Marshall McLuhan, the pair dive into the rabbit hole of scholastic passions and set out to wrestle with the ruling elite and rattle the 'mind-forged manacles' of the complacent majority. Their stories echo a culture stepping away from the quiescent 1950s towards the turbulent and dramatic '60s, and together they wrestle with the birth of new ideas and the burden of knowledge that threatens to consume them.

Have you ever awakened in the night wondering if you would survive the impact of a meteorite, a mutating viral pandemic turning the population into flesh eating zombies, the melting polar ice caps altering the climate into an inhospitable methane laced bog, or simply God raining down fire and brimstone and turning off the lights? Then this is your essential guide to survival, prosperity, and peace when the world ends.

Herbert Schiller, long one of America's leading critics of the communications industry, here offers a salvo in the battle over information. In Information Inequality he explains how privatization and the corporate economy directly affect our most highly prized democratic institutions: schools and libraries, media, and political culture. A master media-watcher, Schiller presents a crisp and far-reaching indictment of the "data deprivation" corporate interests are inflicting on the social fabric.

The Index of American Periodical Verse is an important work for contemporary poetry research and is an objective measure of poetry that includes poets from the United States, Canada, and the Caribbean as well as other lands, cultures, and times. It reveals trends in the output of particular poets and the cultural influences they represent. The publications indexed cover a broad cross-section of poetry, literary, scholarly, popular, general, and "little" magazines, journals, and reviews.

Revolutionary Stagecraft draws on a rich corpus of literary, historical, and technical materials to reveal a deep entanglement among technological modernization, political agendas, and the performing arts in modern China. This unique approach to Chinese theater history combines a close look at plays themselves, performance practices, technical theater details, and behind-the-scenes debates over “how to” make theater amid the political upheavals of China’s 20th century. The book begins at a pivotal moment in the 1920s—when Chinese theater artists began to import, use, and write about modern stage equipment—and ends in the 1980s when China's scientific and technological boom began. By examining iconic plays and performances from the perspective of the stage technologies involved, Tarryn Li-Min Chun provides a fresh perspective on their composition and staging. The chapters include stories on the challenges of creating imitation neon, rigging up a makeshift revolving stage, and representing a nuclear bomb detonating onstage. In thinking about theater through technicity, the author mines well-studied materials such as dramatic texts and performance reviews for hidden technical details and brings to light a number of previously untapped sources such as technical journals and manuals; set design renderings, lighting plots, and prop schematics; and stage technology how-to guides for amateur thespians. This approach focuses on material stage technologies, situating these objects equally in relation to their technical potential, their human use, and the social, political, economic, and cultural forces that influence them. In each of its case studies, Revolutionary Stagecraft reveals the complex and at times surprising ways in which Chinese theater artists and technicians of the 20th century envisioned and enacted their own revolutions through the materiality of the theater apparatus.

Postmodern Poetry by Patrick Ananta Sutardjo, an expression of verbal art of words, truth, light, short poems that display the artistic versatility and skillfulness of Patrick Ananta Sutardjo in the use of words of postmodern free poetic language and expression.