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In Pieces celebrates the diversity of contemporary fragmentary writing by offering a sampling of fragments written by 37 different writers--those who are known as well as new voices. Selections from diaries, notebooks, and letters; aphorisms; short prose pieces and vignettes... These are some of the fragmentary forms represented in this unique collection, the first of its kind to present a wide range of fragmentary writing as its own genre.
In "Threads of Destiny," Evelyn embarks on a perilous journey to unravel the tangled web of fate that binds Whispering Pines to the cosmic forces. As she uncovers long-hidden secrets and confronts her lineage, Evelyn grapples with the consequences of her ancestry and the weight of her destiny. Betrayals, prophecies, and revelations lead Evelyn to the heart of the town's enigmatic past, where she must confront shadows, guardians, and her own inner demons. With the fate of Whispering Pines hanging in the balance, Evelyn's quest for truth becomes a race against time, testing her courage, resolve, and the bonds of love and loyalty. Join Evelyn as she navigates the Threads of Destiny, where light and darkness collide in a battle for the soul of Whispering Pines.
This is a poignant, sometimes ribald, history of the rank-and-file servicemen who were psychiatric casualties of World War One.
In Endless Andness, Mieke Bal pioneers a new understanding of the political potential of abstract art which does not passively yield its meaning to the viewer but creates it anew - an art perceived not only through the retina but experienced viscerally. In this book, the third of her companion volumes on art's political agency, Bal explores perception through an intense engagement with the work of Belgian sculptor Ann Veronica Janssens. In a series of vividly-recalled encounters with Janssen's practice over a number of years, Balpresents a new conception of embodied perception - art experienced in a body conjured into participation and transformed by the experience. From Janssens' 'mist room' works and the CorpsNoir sculptures through to the fugitive, porous Aerogel, Bal traces an art which eludes the subject-object distinction to alter our ideas about the potential of political art in abstract and figurative forms. Enticing us simultaneously to lose ourselves and to come home, the tenuous materiality of installation art empowers those who live in the permanently lost and migratoryc ondition that characterizes contemporary experience. In celebrating and interrogating the work of this prolific and innovative artist, Mieke Baltransforms our understanding of non-representational art to create a new awareness of perception and performance in the shared spaces of our world.
An indigenous poet of the Nuosu (Yi) people of mountainous southwestern China, Jidi Majia is well known and celebrated among the Chinese. But his lyrical and worldly work, though widely published and honored, has not found its voice in English translation in the West. The poems in Rhapsody in Black, presented in Chinese and deftly translated by the gifted and respected Denis Mair, at long last introduce the English-speaking world to this remarkable Chinese writer. The poetry of Jidi Majia is deeply grounded in the myths and oral traditions of the Nuosu minority. It evokes times past but also speaks with eloquence of our global moment. Replete with cultural textures and local idiom, the poems provide an exquisite opening into the Nuosu world. In their ethnic richness, they also resonate with the voices of the indigenous and the dispossessed, from Native American and South American Indian poets to the African American and aboriginal Australian writers preserving and reshaping cultural identity. Jidi Majia’s voice sounds the depths of natural, cultural, and spiritual reality. In his poem “Voice of the Bimo,” the power of a Nuosu ritualist’s expression is reflected in his own: In tones both human and divine, it utters A praise song for birth and death When it invokes sun, stars, rivers, and ancient heroes When it summons deities and surreal powers Departed beings commence their resurrection! The poems in this volume broaden and deepen our experience of the world—Jidi Majia’s and our own.
The Kaqchikel Maya, who live in the highlands of central Guatemala, experience soul as part of a continuum of bodily states. This account of life in one highland Maya community shows how, among Kaqchikels, spirit expresses itself fundamentally through the body, and not as something entirely separate from the body. By examining the lived-meanings of midwifery, soul therapy, and community dance in the town of San Juan Comalapa, the book identifies the body as the primary vehicle for spiritual grounding in daily life. Hinojosa invites readers to understand how specialists in these activities articulate their knowledge of the spirit through their understanding of blood, and he encourages readers to glimpse the hidden life of the body and how bodily processes guide local understandings of spirit at the personal and group level. This work further illuminates the agentive role of the body in Maya spiritual experience and enriches the current discussions of Maya spiritual revitalization.
The border regimes of imperialist states have brutally oppressed migrants throughout the world. To enforce their borders, these states have constructed a new digital fortress with far-reaching and ever-evolving new technologies. This pathbreaking volume exposes these insidious means of surveillance, control, and violence. In the name of “smart” borders, the U.S. and Europe have turned to private companies to develop a neocolonial laboratory now deployed against the Global South, borderlands, and routes of migration. They have established immigrant databases, digital IDs, electronic tracking systems, facial recognition software, data fusion centers, and more, all to more “efficiently” categorize and control human beings and their movement. These technologies rarely capture widespread public attention or outrage, but they are quietly remaking our world, scaling up colonial efforts of times past to divide desirables from undesirables, rich from poor, expat from migrant, and citizen from undocumented. The essays and case studies in Resisting Borders and Technologies of Violence shed light on this new threat, offering analyses of how the high-tech system of borders developed and inspiring stories of resistance to it. The organizers, journalists, and scholars in these pages are charting a new path forward, employing creative tools to subvert the status quo, organize globally against high-tech border imperialism, and help us imagine a world without borders.
This book explores responses to authoritarianism in Turkish society through popular culture by examining feature films and television serials produced between 1980 and 2010 about the 1980 coup. Envisioned as an interdisciplinary study in cultural studies rather than a disciplinary work on cinema, the book advocates for an understanding of popular culture in discerning emerging narratives of nationhood. Through feature films and television serials directly dealing with the coup of 1980, the book exposes tropes and discursive continuities such as “childhood” and “the child”. It argues that these conventional tropes enable popular debates on the modern nation’s history and its myths of identity.
Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. In order to start thinking about curating, this book takes a new approach to the topic. Instead of relying on conventional art historical narratives (for example, identifying the moments when artistic and curatorial practices merged or when the global curator-author was first identified), this book puts forward a multiplicity of perspectives that go from the anecdotal to the theoretical and from the personal to the philosophical. These perspectives allow for a fresh reflection on curating, one in which, suddenly, curating becomes an activity that implicates us all (artists, curators, and viewers), not just as passive recipients, but as active members. As such, the Curatorial is a book without compromise: it asks us to think again, fight against sweeping art historical generalizations, the sedimentation of ideas and the draw of the sound bite. Curating will not stop, but at least with this book it can begin to allow itself to be challenged by some of the most complex and ethics-driven thought of our times.
The dramatic story of one man’s recovery offers new hope to those suffering from concussions and other brain traumas In 1999, Clark Elliott suffered a concussion when his car was rear-ended. Overnight his life changed from that of a rising professor with a research career in artificial intelligence to a humbled man struggling to get through a single day. At times he couldn’t walk across a room, or even name his five children. Doctors told him he would never fully recover. After eight years, the cognitive demands of his job, and of being a single parent, finally became more than he could manage. As a result of one final effort to recover, he crossed paths with two brilliant Chicago-area research-clinicians—one an optometrist emphasizing neurodevelopmental techniques, the other a cognitive psychologist—working on the leading edge of brain plasticity. Within weeks the ghost of who he had been started to re-emerge. Remarkably, Elliott kept detailed notes throughout his experience, from the moment of impact to the final stages of his recovery, astounding documentation that is the basis of this fascinating book. The Ghost in My Brain gives hope to the millions who suffer from head injuries each year, and provides a unique and informative window into the world’s most complex computational device: the human brain.