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Ghostly Fragments gathers the essays of the late Barbara C. Hodgdon, a renowned scholar of Shakespeare and performance studies. Her influential publications over thirty years reflected a remarkable intelligence, wit, and originality, as did her lectures and conference papers. Richard Abel and Peter Holland have selected essays that represent the wide sweep of Hodgdon’s scholarship, including unpublished pieces and those from hard-to-access sources. The essays reveal a thinker and writer who grows more self-reflective over time, with a distinctive, engaging, often wryly humorous voice that is accessible even to nonspecialist readers. Following a general introduction by Peter Holland, the book’s five subsections (Teaching Shakespeare, Analyzing Stage Performances, Editing Shakespeare Texts, Analyzing Shakespeare Films, and “Shopping” in the Archives) are introduced in turn by scholars Miriam Gilbert, W.B. Worthen, Margaret Jane Kidnie, Richard Abel, and Pascale Aebischer. Collectively, the pieces confirm the originality and élan of Hodgdon’s thinking and writing over time, and reveal her as a natural essayist and stylist, with a distinctive engaging voice. The collection is unique in not only bringing together so much of Hodgdon's work in one place (with an extensive bibliography of her published work) but also in demonstrating how groundbreaking and influential that work has been in the field.
In 2008, the Canadian government established a Truth and Reconciliation Commission (TRC) to review the history of the residential school system, a brutal colonial project that killed and injured many Indigenous children and left a legacy of trauma and pain. In Fragments of Truth Naomi Angel analyzes the visual culture of reconciliation and memory in relation to this complex and painful history. In her analyses of archival photographs from the residential school system, representations of the schools in popular media and literature, and testimonies from TRC proceedings, Angel traces how the TRC served as a mechanism through which memory, trauma, and visuality became apparent. She shows how many Indigenous communities were able to use the TRC process as a way to claim agency over their memories of the schools. Bringing to light the ongoing costs of transforming settler states into modern nations, Angel demonstrates how the TRC offers a unique optic through which to survey the long history of colonial oppression of Canada’s Indigenous populations.
Our top-secret weapon is missing. And America’s top test pilot is missing too. Full of a fierce, obsessive will to live, Tom Darby is about to test-fire the USA’s ultimate weapon—when something goes tragically wrong. His F-15 fighter explodes in a ball of fire. He ejects into the killing heat of Death Valley. Crazed by injuries, he becomes a wild beast running for his life from unseen enemies—and from his rescuers. Even from his beautiful wife. American teams want him. So do sinister East German agents, headed by an ex-Nazi. Because they believe he possesses . . . The Marcus Device
The emotional exchange between so-called “humans” and more-than-human creatures is an overlooked phenomenon in societies characterized by the ubiquitous deaths of animals. This text offers examples of people across diverse disciplines and perspectives—from biomedical research to black theology to art—learning and performing emotions, expanding their desires, discovering new ways to behave, and altering their sense of self, purpose, and community because of passionate, but not romanticized, attachments to animals. By articulating the emotional ties that bind them to specific animals’ lives and deaths, these authors play host to creaturely ghosts who reorient their world vision and work in the world, offering examples of affect and feeling needed to enliven multi-species ethics.
This volume presents original views of the relationship between desire and romance. It begins by looking anew at the nature of desire, citing its central theoretical text as Freud's 'Beyond the Pleasure Principle'. It traces the struggle betwen myth and romance, between the ego on its way to death and the self in search of life, through close readings of poems and letters of John Keats and in detailed considerations of a series of novels including 'Frankenstein', 'Wuthering Heights', 'Jane Eyre', and 'Sons and Lovers'.
In Erik Mueggler's powerful and imaginative ethnography, a rural minority community in the mountains of Southwest China struggles to find its place at the end of a century of violence and at the margins of a nation-state. Here, people describe the present age, beginning with the Great Leap Famine of 1958-1960 and continuing through the 1990s, as "the age of wild ghosts." Their stories of this age converge on a dream of community—a bad dream, embodied in the life, death, and reawakening of a single institution: a rotating headman-ship system that expired violently under the Maoist regime. Displaying a sensitive understanding of both Chinese and the Tibeto-Burman language spoken in this region, Mueggler explores memories of this institution, including the rituals and poetics that once surrounded it and the bitter conflicts that now haunt it.To exorcise "wild ghosts," he shows, is nothing less than to imagine the state and its power, to trace the responsibility for violence to its morally ambiguous origins, and to enunciate calls for justice and articulate longings for reconciliation.
The Supernatural Sublime explores the long-neglected element of the supernatural in films from Spain and Mexico by focusing on the social and cultural contexts of their production and reception, their adaptations of codes and conventions for characters and plot, and their use of cinematic techniques to create the experience of emotion without explanation. Deploying the overarching concepts of the supernatural and the sublime, Raúl Rodríguez-Hernández and Claudia Schaefer detail the dovetailing of the unnatural and the experience of limitlessness associated with the sublime. The Supernatural Sublime embeds the films in the social histories of twentieth- and twenty-first-century Mexico and Spain, both of which made a forced leap into modernity after historical periods founded on official ideologies and circumscribed visions of the nation. Evoking Kant's definition of the experience of the sublime, Rodríguez-Hernández and Schaefer concentrate on the unrepresentable and the contradictory that oppose purported universal truths and instead offer up illusion, deception, and imagination through cinema, itself a type of illusion: writing with light.
Affective Critical Regionality offers a new approach to developing a sharper, more nuanced understanding of the relations between place, space, memory and affect. It builds on the author’s extensive work on the American West, where he developed the idea of ‘expanded critical regionalism’ to underline the West as multiple, dynamic and relational; engaged in global / local processes, tensions between the rooted and the routed, and increasingly as relevant to debates around the politics of precarity and vulnerability. This book uses affective critical regionality to enable a re-valuing of the local as a powerful means to appreciate the everyday and the over-looked as vital elements within a more inclusive understanding of how we live. Exploring a variety of cultural materials including fiction, memoir, theory, poetry and film it demonstrates how this approach can deepen our understanding of, and simultaneously provoke new relations with, place. Moving beyond the US context through its use of international theoretical voices and texts, it will show how the concept is applicable to other cultural spheres.
Each day I wake to see the light of day. Be it a good day or a not-so-good day or a bad day, I realize it is the best day of my life, and I will rejoice in that day. I will not worry about yesterday or tomorrow. Yesterday will never come again, and tomorrow will be twenty hours, fifty-nine minutes, and fifty-nine seconds away. The closest I will ever get to tomorrow is twenty three hours, fifty-nine minutes, and fifty-nine seconds. With life, all things are possible. If I have life, I must LIVE.
What did it mean for painter Lee Krasner to be an artist and a woman if, in the culture of 1950s New York, to be an artist was to be Jackson Pollock and to be a woman was to be Marilyn Monroe? With this question, Griselda Pollock begins a transdisciplinary journey across the gendered aesthetics and the politics of difference in New York abstract, gestural painting. Revisiting recent exhibitions of Abstract Expressionism that either marginalised the artist-women in the movement or focused solely on the excluded women, as well as exhibitions of women in abstraction, Pollock reveals how theories of embodiment, the gesture, hysteria and subjectivity can deepen our understanding of this moment in the history of painting co-created by women and men. Providing close readings of key paintings by Lee Krasner and re-thinking her own historic examination of images of Jackson Pollock and Helen Frankenthaler at work, Pollock builds a cultural bridge between the New York artist-women and their other, Marilyn Monroe, a creative actor whose physically anguished but sexually appropriated star body is presented as pathos formula of life energy. Monroe emerges as a haunting presence within this moment of New York modernism, eroding the policed boundaries between high and popular culture and explaining what we gain by re-thinking art with the richness of feminist thought.