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Relevant bibliographies by topics / Vintage Books (Firm)

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Academic literature on the topic 'Vintage Books (Firm)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Vintage Books (Firm)"

1

Zivnuska, Suzanne, and Michael J. Gundlach. "Book Review Essay: The Future of InnovationCollaborative Entrepreneurship: How Groups of Networked Firms Use Continuous Innovation to Create Economic Wealth, by MilesRaymond E. MilesGrant and SnowCharles C. Stanford, CA: Stanford University Press, 2005 The Future of Ideas: The Fate of the Commons in a Connected World, by LessigLawrence New York: Vintage Books, 2002." Academy of Management Review 30, no. 3 (2005): 634–37. http://dx.doi.org/10.5465/amr.2005.17293742.

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Bartlett, Alison. "Business Suit, Briefcase, and Handkerchief: The Material Culture of Retro Masculinity in The Intern." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1057.

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IntroductionIn Nancy Meyers’s 2015 film The Intern a particular kind of masculinity is celebrated through the material accoutrements of Ben Whittaker (Robert De Niro). A retired 70-year-old manager, Ben takes up a position as a “senior” Intern in an online clothing distribution company run by Jules Ostin (Anne Hathaway). Jules’s company, All About Fit, is the embodiment of the Gen Y creative workplace operating in an old Brooklyn warehouse. Ben’s presence in this environment is anachronistic and yet also stylishly retro in an industry where “vintage” is a mode of dress but also offers alternat

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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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Nijhawan, Amita. "Damning the Flow." M/C Journal 9, no. 4 (2006). http://dx.doi.org/10.5204/mcj.2646.

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   Deepa Mehta first attempted to shoot her film Water in the year 2000, in Varanasi, a holy city hanging on the edge of the Ganges in East-Central India. A film about the anguish of widows in 1930’s India, where widowhood was in many parts of the country taken to be a curse, an affliction that the widow paid penance for by living in renunciation of laughter and pleasure, Water points not only to the suffering of widows in colonial India but to the widow-house that still exists in Varanasi and houses poor widows in seclusion and disgrace, away from the community. The film ope

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Sheu, Chingshun J. "Forced Excursion: Walking as Disability in Joshua Ferris’s The Unnamed." M/C Journal 21, no. 4 (2018). http://dx.doi.org/10.5204/mcj.1403.

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Introduction: Conceptualizing DisabilityThe two most prominent models for understanding disability are the medical model and the social model (“Disability”). The medical model locates disability in the person and emphasises the possibility of a cure, reinforcing the idea that disability is the fault of the disabled person, their body, their genes, and/or their upbringing. The social model, formulated as a response to the medical model, presents disability as a failure of the surrounding environment to accommodate differently abled bodies and minds. Closely linked to identity politics, the soci

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6

Loess, Nicholas. "Augmentation and Improvisation." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.739.

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Preamble: Medium/Format/Marker Medium/Format/Marker (M/F/M) was a visual-aural improvisational performance involving myself, and musicians Joe Sorbara, and Ben Grossman. It was formed through my work as a PhD candidate at the Improvisation, Community, and Social Practice research initiative at the University of Guelph. This performance was conceived as an attempted intervention against the propensity to reify the “new.” It also sought to address the proliferation of the screen and question how the increased presence of screens in everyday life has augmented the way in which an audience is conc

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Deffenbacher, Kristina. "Mapping Trans-Domesticity in Jordan’s Breakfast on Pluto." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1518.

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Neil Jordan’s Breakfast on Pluto (2005) reconceives transience and domesticity together. This queer Irish road film collapses opposition between mobility and home by uncoupling them from heteronormative structures of gender, desire, and space—male/female, public/private. The film’s protagonist, Patrick “Kitten” Braden (Cillian Murphy), wanders in search of a loved one without whom she does not feel at home. Along the way, the film exposes and exploits the doubleness of both “mobility” and “home” in the traditional road narrative, queering the conventions of the road film to convey the desire a

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Phillips, Jennifer Anne. "Closure through Mock-Disclosure in Bret Easton Ellis’s Lunar Park." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.190.

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In a 1999 interview with the online magazine The AV Club, a subsidiary of satirical news website, The Onion, Bret Easton Ellis claimed: “I’ve never written a single scene that I can say took place, I’ve never written a line of dialogue that I’ve heard someone say or that I have said” (qtd. in Klein). Ten years later, in the same magazine, Ellis was reminded of this quote and asked why most of his novels have been perceived as veiled autobiographies. Ellis responded:Well, they are autobiographical in the sense that they reflect who I was at a particular moment in my life. There was talk of a me

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Franks, Rachel. "A Taste for Murder: The Curious Case of Crime Fiction." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.770.

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Introduction Crime fiction is one of the world’s most popular genres. Indeed, it has been estimated that as many as one in every three new novels, published in English, is classified within the crime fiction category (Knight xi). These new entrants to the market are forced to jostle for space on bookstore and library shelves with reprints of classic crime novels; such works placed in, often fierce, competition against their contemporaries as well as many of their predecessors. Raymond Chandler, in his well-known essay The Simple Art of Murder, noted Ernest Hemingway’s observation that “the goo

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Carroll, Richard. "The Trouble with History and Fiction." M/C Journal 14, no. 3 (2011). http://dx.doi.org/10.5204/mcj.372.

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Historical fiction, a widely-read genre, continues to engender contradiction and controversy within the fields of literature and historiography. This paper begins with a discussion of the differences and similarities between historical writing and the historical novel, focusing on the way these forms interpret and represent the past. It then examines the dilemma facing historians as they try to come to terms with the modern era and the growing competition from other modes of presenting history. Finally, it considers claims by Australian historians that so-called “fictive history” has been best

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