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The Tenth Muse explores writings on the cinema in the first decades of the twentieth century. Laura Marcus examines the impact of cinema on early twentieth-century literary and, more broadly, aesthetic and cultural consciousness, by bringing together the study of the terms and strategies of early writings about film with literary engagement with cinema in the same period. She gives a new understanding of the ways in which early writers about film - reviewers, critics, theorists - developed aesthetic categories to define and accommodate what was called 'the seventh art' or 'the tenth muse' and found discursive strategies adequate to the representation of the new art and technology of cinema, with its unprecedented powers of movement. In examining the writings of early film critics and commentators in tandem with those of more specifically literary figures, including H.G.Wells and Virginia Woolf, and in bringing literary texts into this field, Laura Marcus provides a new account of relationships between cinema and literature. Intertwining two major strands of research - the exploration of early film criticism and theory and cinema's presence in literary texts - The Tenth Muse shows how issues central to an understanding of cinema (including questions of time, repetition, movement, vision, sound and silence) are threaded through both kinds of writing, and the ways in which discursive and fictional writings overlapped. The movement that defined cinema was also perceived as a more fragile and unstable ephemerality that inhered at every level, from the fleeting nature of the projected images to the vagaries of cinematic exhibition. It was the anxiety over the mutability of the medium and its exhibition which, from the 1920s onwards, led to the establishment of such institutional spaces for cinema as the London-based Film Society, the new film journals, and, in the 1930s, the first film archives. The Tenth Muse explores the continuities between these sites of cinematic culture and the conceptual, literary and philosophical understandings of the filmic medium.

The authors of this book show how to find value in understanding people's pain and resilience in the context of their internal dynamic struggles, biological make-up, and social realities. They demonstrate how to use this knowledge to create a language of meaning for people's difficulties, and most important, a road to their healing. Inside Out and Outside In provides a guide for understanding and working with the complex inner and outer forces that make up people's lives. A Jason Aronson Book

Summer Stories features a delightful series of paintings by Maine artist Leslie Anderson along with a dozen short stories inspired by these paintings. Anderson's works capture people and events characteristic of a summer in Maine-for example, Hauling Buoys, Fair Night, Clammer, Hay Day, and Last Night at the Lake. The accompanying stories, by ten acclaimed and award-winning Maine writers, animate the paintings, revealing and honoring the genuine uniqueness of a summer in Maine. There is tenderness and warmth, but also danger and torment, and throughout, an experience of the qualities that make Maine what it is-resourcefulness, determination, strength, and independence. If you know Maine, you may find yourself in one of these paintings or stories; if you've never been to Maine, this book will excite your imagination and make you want to visit Maine to craft your own summer story. Short stories in this book are by Maine writers Mary Lou Bagley, Nancy L. Brown, Meredith Nash Fossel, Claire Guyton, Kathryn Hall, David Karraker, Catherine J. S. Lee, Laura Levenson, John B. Nichols, Jr., and Anna Noyes

The question of how the Bible received its unusual form has been a question addressed by scholars since critical study of the text began. Early attention focused on the Pentateuch and the Primary History. Archival Historiography in Jewish Antiquity argues that Ezra and Nehemiah, late texts sometimes overlooked in such discussions, reveal another piece of this longstanding puzzle. Laura Carlson Hasler suggests that the concept of archival historiography makes sense of Ezra and Nehemiah's unusual format and place in the Bible. Adapting the symbolic quality of ancient Near Eastern archives to their own purposes, the writers of these books found archiving an expression of religious and social power in a colonized context. Using the book of Esther as a comparative example, Carlson Hasler addresses literary disruption, a form unpalatable to modern readers, as an expected element of archival historiography. This book argues that archiving within the experience of trauma is more than sophisticated history writing, and in fact served to facilitate Judean recovery after the losses of exile.