James Kearns - Böcker

In a lively chronological narrative, this new guide situates original readings of authors and texts within the literary, historical and socio-cultural contexts of their production and charts the mutations of printing and publishing, the growth of literacy and the changing nature of the reading public. Writers and writings relegated to the margins of the canon are reassessed. New directions in contemporary thought, women's writing and Francophone literature are a feature, together with important concepts of contemporary critical theory.

This book presents a study of Theophile Gautier's art journalism written during the Second Republic and provides a reassessment of Gautier's importance in French nineteenth-century visual culture. It charts his response to the major art events and debates on Salons.

Virginia Woolf’s Microgenesis engages with Virginia Woolf’s writings in the context of her own unique methodological approach to mind, to meaning, and to making whole. This volume argues that this preoccupation with the metaphysics of “wholeness,” a dread, indeed, of both fragmentation and what endures as an organic unity, places Woolf’s writings alongside Jason Brown’s microgenesis, formulated as a formative, emergent, and dynamic process of cognitive activity. However, crucially, it is not by assembling multiple flows of sense data into more complex constructions that we might perceive the objective world but by sculpting away the unfit to reveal the structure of the world as a surfacing reality. In so many ways, Woolf’s novels represent an enactment of microgenetic theory, demonstrating and alerting us to the mind/brain state as a process of continual unfolding through progressive differentiation and discrimination to a distinct configuration – albeit one which may be deemed imperfect.That is not to say that Woolf’s fictions should be understood as anticipating Brown’s formulation of microgenetic theory as such but that they should be understood as illuminating the adaptive and evolutionary significance, and signification, of perceptual microgenesis in her various modes of theorisation – that is, her processes of tunnelling and transmuting, moments of being/nonbeing, and depth‑and‑surface. If ontogeny (individual development) recapitulates phylogeny (species development), this volume demonstrates that Woolf provides the momentariness of microgenesis to her fictions, a process which recapitulates both.Virginia Woolf’s Microgenesis is essential reading for researchers and students in Woolf Studies, process philosophy, new materialisms, literary theory, and modernist literature.

Principles and Applications of Electrical Engineering provides an overview of the electrical engineering discipline specifically geared toward non-electrical engineering students. The hallmark feature of the text is its use of practical applications to illustrate important principles. The applications come from every field of engineering and feature exciting technologies.The principal objective of the book is to present the principles of electrical, electronic, and electromechanical engineering to an audience of engineering majors enrolled in introductory and more advanced or specialized electrical engineering courses. A second objective is to present these principles with a focus on important results and common yet effective analytical and computational tools to solve practical problems. Finally, a third objective of the book is to illustrate, by way of concrete, fully worked examples, a number of relevant applications of electrical engineering. These examples are drawn from the authors’ industrial research experience and from ideas contributed by practicing engineers and industrial partners.

This book presents a study of Theophile Gautier's art journalism written during the Second Republic and provides a reassessment of Gautier's importance in French nineteenth-century visual culture. It charts his response to the major art events and debates on Salons.

'you start every new day with an inventory: a moth, a cape, a parachute, a coffin, a gun, the wall you built to mount the gun.'On the Subject of Fallen Things is an addictive, Chekhovian metanarrative: phenomenological, absurd, and dripping with black humour. James Kearns’ speaker keeps company with Lazarus, an inept psychic, and a deceased superhero, but finds himself increasingly alone—lost in dialogue with mortality, both personal and anthropological. Permanence, culpability, the function and corruption of human storytelling: all come into play in a surge of momentum that grips the reader, even as it breaks apart: a lean explosion, a gunshot in the distance.“On the Subject of Fallen Things weaves whimsy into narrative epiphanies that you never see coming. Each line aggregating weight like the lightness of snowflakes gathering into an avalanche. Hugely enjoyable. Get it now.” Roger Robinson, Ondaatje and TS Eliot Prize winning poet“A really brilliant sequence of poems. Like Ponge, or Herbert, or Steger, or Simic, it manages to be both serious and fleeting, weighty and funny.” SJ Fowler, 3:AM Magazine

Following on from « Ce Salon à quoi tout se ramène »: Le Salon de peinture et de sculpture, 1791–1890, published in 2010 as an earlier volume in this series, this volume contains a selection of the papers given at the first major international conference to be held on the post-1789 Paris Fine Art Salon. Hosted by the University of Exeter in September 2013, the conference had its origins in the research project entitled Painting for the Salon? The French State, Artists and Academy, 1830–1852, funded in 2010–2012 by the UK’s Arts and Humanities Research Council, and its purpose was to situate findings of this research within the wider framework of the Salon’s nineteenth-century history. In this collection of twenty-three papers, fourteen in English, nine in French, established and new scholars of French art history examine the national and international artistic, political and cultural dimensions of the most important regular exhibition of contemporary art in the nineteenth-century world.