Engelska

<b>A daring literary fusion of pop culture and feminism, <i>Swifterature</i> captures the special connection between English literature and the worldwide phenomenon of Taylor Swift. </b><br/><br/><i>Swifterature</i><i> </i>captures a unique fusion of different elements: fandom, feminism, and a defense of both literature and popular culture.<br/><br/> The narrative is split into thirteen chapters that use Swift's lyrics as departure points. The reader experiences the inspiring influence of English literature as Swift's lens breathes new vitality and urgency into older texts. McCausland also writes about her own experiences as she copes with intense media scrutiny and is forced to defend her academic integrity.<br/><br/> She argues that Swift, through her self-conscious engagement with classic works of literature and her extraordinary popularity, invites us to reflect not only on the culture of our past but also of our present. <i>Swifterature</i> shows how Swift's place on the world's stage can teach us about many things, from feminism to politics, nature to childhood. In the process the book makes a compelling case that studying Taylor Swift also turns us into better readers, not only of literature but of ourselves and each other.

Positioned precariously between the uptight '50s and the freewheeling '70s, the <strong>1960s </strong>marked a <strong>transitional decade in the film industry</strong>. As art, mass market, and pop culture merged and collided in true pop art style, cinema swirled with psychedelic energy. This <strong>handbook gathers the best films of the era,</strong> exploring the making and the mastery of such cinematic star turns as <em>T</em><em>he Leopard</em>, <em>The Birds</em>, <em>Belle de Jour</em>, <em>A Fistful of Dollars</em>, and <em>Doctor Zhivago</em>.<br/><br/>With audiences ever more glued to their TV sets and the loosened rules about what was "permissible" in cinema with the abolition of the Production Code, filmmakers embraced the freedom to explore the <strong>possibilities of film as an art form</strong>. As was often the case, the Europeans led the way, the French with <strong>Nouvelle Vague</strong> directors like <strong>Godard </strong>and <strong>Truffaut,</strong> and the Italians with such innovative films as <strong>Fellini's <em>8 1/2</em> and Antonioni's <em>Eclipse</em></strong>.<br/><br/>By the mid-'60s the United States also began to exercise greater creative liberties, especially in films from <strong>young underground directors such as Russ Meyer, John Frankenheimer, and Sam Peckinpah</strong>. Meanwhile, <em>Mary Poppins</em> and <em>The Sound of Music </em>ushered out the grandiose Hollywood musical era with a bang while the <strong>Spaghetti Western</strong> became an instant phenomenon, and <strong>Kubrick </strong>set new standards for sci-fi with <strong><em>2001: A Space Odyssey</em></strong>.<br/><br/>Though the term "feminism" may not have been ready for prime time, the decade was also one of major advances in female characterization. From Jane Fonda's <em>Barbarella</em> to Holly Golightly of <em>Breakfast at Tiffany's</em> to Bonnie Parker of <em>Bonnie and Clyde</em>, it was the 1960s that saw <strong>women on-screen graduate from decorative accessories to complex, kick-ass personas</strong>.