Kirjahaku

Beginning with the punishment systems of the ancient world, Sean OToole investigates the birth of the modern prison, the transportation process, the convict era and finally the creation of Australias various State and Territory prisons and community corrections systems.

A bold reimagining of the literary history of Decadence through a close examination of the transnational contexts of Oscar Wilde's classic novel The Picture of Dorian Gray.Building upon a large body of archival and critical work on Oscar Wilde's only novel, Dorian Unbound offers a new account of the importance of transnational contexts in the forging of Wilde's imagination and the wider genealogy of literary Decadence. Sean O'Toole argues that the attention critics have rightly paid to Wilde's backgrounds in Victorian Aestheticism and French Decadence has had the unintended effect of obscuring a much broader network of transnational contexts. Attention to these contexts allows us to reconsider how we read The Picture of Dorian Gray, what we believe we know about Wilde, and how we understand literary Decadence as both a persistent, highly mobile cultural mode and a precursor to global modernism. In developing a transnational framework for reading Dorian Gray, O'Toole recovers a subterranean network of nineteenth-century cultural movements. At the same time, he joins several active and vital conversations about what it might mean to expand the geographical reach of Victorian studies and to trace the globalization of literature over a longer period of time. Dorian Unbound includes chapters on the Irish Gothic, German historical romance, US magic-picture tradition, and experimental English epigrams, as well as a detailed history and a new close reading of the novel, in an effort to understand Wilde's contribution to a more dynamic idea of Decadence than has been previously known. From its rigorous account of the broad archive of texts that Wilde read and the array of cultural movements from which he drew inspiration in writing Dorian Gray to the novel's afterlives and global resonances, O'Toole paints a richer picture of the author and his famously allusive prose. This book makes a compelling case for a comparative reading of the novel in a global context. It will appeal to historians and admirers of Wilde's career as well as to scholars of nineteenth-century literature, queer and narrative theory, Irish studies, and art history.

A bold reimagining of the literary history of Decadence through a close examination of the transnational contexts of Oscar Wilde's classic novel The Picture of Dorian Gray.Building upon a large body of archival and critical work on Oscar Wilde's only novel, Dorian Unbound offers a new account of the importance of transnational contexts in the forging of Wilde's imagination and the wider genealogy of literary Decadence. Sean O'Toole argues that the attention critics have rightly paid to Wilde's backgrounds in Victorian Aestheticism and French Decadence has had the unintended effect of obscuring a much broader network of transnational contexts. Attention to these contexts allows us to reconsider how we read The Picture of Dorian Gray, what we believe we know about Wilde, and how we understand literary Decadence as both a persistent, highly mobile cultural mode and a precursor to global modernism. In developing a transnational framework for reading Dorian Gray, O'Toole recovers a subterranean network of nineteenth-century cultural movements. At the same time, he joins several active and vital conversations about what it might mean to expand the geographical reach of Victorian studies and to trace the globalization of literature over a longer period of time. Dorian Unbound includes chapters on the Irish Gothic, German historical romance, US magic-picture tradition, and experimental English epigrams, as well as a detailed history and a new close reading of the novel, in an effort to understand Wilde's contribution to a more dynamic idea of Decadence than has been previously known. From its rigorous account of the broad archive of texts that Wilde read and the array of cultural movements from which he drew inspiration in writing Dorian Gray to the novel's afterlives and global resonances, O'Toole paints a richer picture of the author and his famously allusive prose. This book makes a compelling case for a comparative reading of the novel in a global context. It will appeal to historians and admirers of Wilde's career as well as to scholars of nineteenth-century literature, queer and narrative theory, Irish studies, and art history.

Cali and Carly are carpenter ants who are sick of eating the same old food every day. So they decide to attempt to snack on a food source discovered with their insect friends, which just so happens to be inside a lady's house. They end up getting more than they bargained for and learn a valuable lesson in the process.

The vivid and powerful expressionist paintings of Irma Stern were a key factor in the modernization of early 20th-century South African art. Although she was widely recognized during her lifetime, Stern's posthumous fame has dwindled outside her home country, and this beautifully produced monograph serves to correct that injustice. A master of color and composition, Stern is best known for her portraits and still lifes that reflected her passion for travel and devotion to home. Drawing from letters, journals, the artist's own illustrated travelogues as well as the latest scholarship, this volume traces Stern's childhood in South Africa and her family's flight to Germany in the wake of the South African War (1899-1902). Readers will learn of her artistic development at the center of Weimar, Germany's expressionist avant-garde, her return to her homeland and the derisive reaction to her early work, and finally her productive travels throughout the African continent and the acclaim she achieved. The book also focuses on the political and cultural forces that shaped Stern's work, including the unification of South Africa, the rise of expressionism in Germany, the interplay between indigenous and colonial art in the African continent, and Stern's continued influence on contemporary South African artists.

David Goldblatt's (born 1930) "In Bosburg" was published in 1982, making it one of the earlier photobooks in South African history. Goldblatt, himself from a white background and a critical observer of the racist dynamics of his native country, was interested in capturing the "wholly uneventful flow of commonplace, orderly life" of the white population around him. Boksburg, a legally white-only town on the Eastern periphery of Johannesburg (which, at the time, was heavily dependent on black labor), seemed to best fit his purposes, and between 1979 and 1980 he recorded everyday scenes in the town. This new edition includes several additional photographs and a new essay by Sean O'Toole, providing penetrating insight into the history of the book and the story behind the photographs and their subject.