Robert stilling (42 résultats)

hardcover. Etat : As New.

Hardcover. Etat : Good.

Etat : Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Etat : New.

Paperback or Softback. Etat : New. What Should I Read Next?: 70 University of Virginia Professors Recommend Readings in History, Politics, Literature, Math, Science, Technology, T. Book.

Etat : As New. Unread book in perfect condition.

Etat : As New. Unread book in perfect condition.

Etat : New.

Hardcover. Etat : new. Hardcover. During the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were "beginning at the end," skipping the inventive phase of youth for a decadence thought more typical of Europe's declining empires. Robert Stilling takes up Fanon's assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art.In Stilling's account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art's sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siecle figures such as Wilde questioned the imperial ideologies of their own era.Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups-European decadents and postcolonial artists-maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions. Robert Stilling shows how aestheticisms decadence became a key idea in postcolonial thought, describing the failures of revolutionary nationalism and asserting cosmopolitanism in poetry and art. Breaking down the boundaries around decadent literature, he takes it outside Europe and emphasizes the global reach of its imaginative transgressions. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Etat : New. In English.

Hardback. Etat : New. During the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were "beginning at the end," skipping the inventive phase of youth for a decadence thought more typical of Europe's declining empires. Robert Stilling takes up Fanon's assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art.In Stilling's account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art's sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siècle figures such as Wilde questioned the imperial ideologies of their own era.Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups-European decadents and postcolonial artists-maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions.…

HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Etat : new.

Etat : New.

HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000.

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 3-4 days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Etat : New. 2018. Hardcover. . . . . .

Etat : New.

Etat : New.

Hardback. Etat : New. New copy - Usually dispatched within 4 working days.

Etat : New. 2018. Hardcover. . . . . . Books ship from the US and Ireland.

Etat : New. In English.

Hardcover. Etat : Brand New. illustrated edition. 264 pages. 9.00x6.00x1.00 inches. In Stock.

Etat : New.

Etat : As New. Unread book in perfect condition.

Hardcover. Etat : Brand New. 330 pages. 9.50x6.50x1.50 inches. In Stock.

Hardcover. Etat : new. Hardcover. During the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were "beginning at the end," skipping the inventive phase of youth for a decadence thought more typical of Europe's declining empires. Robert Stilling takes up Fanon's assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art.In Stilling's account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art's sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siecle figures such as Wilde questioned the imperial ideologies of their own era.Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups-European decadents and postcolonial artists-maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions. Robert Stilling shows how aestheticisms decadence became a key idea in postcolonial thought, describing the failures of revolutionary nationalism and asserting cosmopolitanism in poetry and art. Breaking down the boundaries around decadent literature, he takes it outside Europe and emphasizes the global reach of its imaginative transgressions. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Buch. Etat : Neu. Neuware - Robert Stilling shows how aestheticism¿s decadence became a key idea in postcolonial thought, describing the failures of revolutionary nationalism and asserting cosmopolitanism in poetry and art. Breaking down the boundaries around decadent literature, he takes it outside Europe and emphasizes the global reach of its imaginative transgressions.…

Hardback. Etat : New. During the struggle for decolonization, Frantz Fanon argued that artists who mimicked European aestheticism were "beginning at the end," skipping the inventive phase of youth for a decadence thought more typical of Europe's declining empires. Robert Stilling takes up Fanon's assertion to argue that decadence became a key idea in postcolonial thought, describing both the failures of revolutionary nationalism and the assertion of new cosmopolitan ideas about poetry and art.In Stilling's account, anglophone postcolonial artists have reshaped modernist forms associated with the idea of art for art's sake and often condemned as decadent. By reading decadent works by J. K. Huysmans, Walter Pater, Henry James, and Oscar Wilde alongside Chinua Achebe, Derek Walcott, Agha Shahid Ali, Derek Mahon, Yinka Shonibare, Wole Soyinka, and Bernardine Evaristo, Stilling shows how postcolonial artists reimagined the politics of aestheticism in the service of anticolonial critique. He also shows how fin de siècle figures such as Wilde questioned the imperial ideologies of their own era.Like their European counterparts, postcolonial artists have had to negotiate between the imaginative demands of art and the pressure to conform to a revolutionary politics seemingly inseparable from realism. Beginning at the End argues that both groups-European decadents and postcolonial artists-maintained commitments to artifice while fostering oppositional politics. It asks that we recognize what aestheticism has contributed to politically engaged postcolonial literature. At the same time, Stilling breaks down the boundaries around decadent literature, taking it outside of Europe and emphasizing the global reach of its imaginative transgressions.…