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The story of filmmaker Hayao Miyazaki's life and work, including his significant impact on Japan and the world A thirtieth-century toxic jungle, a bathhouse for tired gods, a red-haired fish girl, and a furry woodland spirit—what do these have in common? They all spring from the mind of Hayao Miyazaki, one of the greatest living animators, known worldwide for films such as My Neighbor Totoro, Princess Mononoke, Spirited Away, Howl’s Moving Castle, and The Wind Rises. Japanese culture and animation scholar Susan Napier explores the life and art of this extraordinary Japanese filmmaker to provide a definitive account of his oeuvre. Napier insightfully illuminates the multiple themes crisscrossing his work, from empowered women to environmental nightmares to utopian dreams, creating an unforgettable portrait of a man whose art challenged Hollywood dominance and ushered in a new chapter of global popular culture.
Death is a topic people are reluctant to ponder. Neither is dying a process that is usually being openly discussed. However, on a variety of occasions, dying and death are on a person’s minds, under some sensitive circumstances, he or she are eager to discuss with a close person, a friend, a professional. The present volume, the second in the Series on Dying and Death, is meant to enrich personal experience of dying or death by providing its reader with knowledge and understanding of some aspects of dying or death. Section 1 describes practices of mourning, in different times and places: USA during the Civil War (Ashley Byock), the Island of Viz, between Croatia and Italy (Kathleen Young), present day Israel (Asa Kasher), medieval Serbia (Mira Crouch) and post-Holocaust USA (Paula David). Section 2 consists of reflections on mourning. It includes philosophical discussions of Friendship (Gary Peters), Grace (Dana Freibach-Heifetz), and the Other (Havi Carel), all in the context of mourning, as well as Mourning itself as a skill (Marguerite Peggy Flynn). Section 3 brings papers on culture and suicide, in early modern Holland (Laura Cruz), in historical Japan (Lawrence Fouraker), as well as in the Jazz age (Kathleen Jones). Section 4 discusses different predicaments of medics facing death and dying: terminal diagnosis (Angela Armstrong-Coster), palliative patients (Anna Taube), and the hospice setting (Elizabeth Gill).
A case for literary critics and other humanists to stop wallowing in their aestheticized helplessness and instead turn to poetry, comedy, and love. Literary criticism is an agent of despair, and its poster child is Walter Benjamin. Critics have spent decades stewing in his melancholy. What if, instead, we dared to love poetry, to choose comedy over Hamlet’s tragedy, or to pursue romance over Benjamin’s suicide on the edge of France, of Europe, and of civilization itself? Paul A. Bové challenges young lit critters to throw away their shades and let the sun shine in. Love’s Shadow is his three-step manifesto for a new literary criticism that risks sentimentality and melodrama and eschews self-consciousness. The first step is to choose poetry. There has been since the time of Plato a battle between philosophy and poetry. Philosophy has championed misogyny, while poetry has championed women, like Shakespeare’s Rosalind. Philosophy is ever so stringent; try instead the sober cheerfulness of Wallace Stevens. Bové’s second step is to choose the essay. He praises Benjamin’s great friend and sometime antagonist Theodor Adorno, who gloried in writing essays, not dissertations and treatises. The third step is to choose love. If you want a Baroque hero, make that hero Rembrandt, who brought lovers to life in his paintings. Putting aside passivity and cynicism would amount to a revolution in literary studies. Bové seeks nothing less, and he has a program for achieving it.
In the course of his twenty-five years of exile, Badī’uzzaman suffered three terms of imprisonment together with varying numbers of his students, and the treatises he wrote during each of these he later included in the Risāla-i Nūr. In The Rays Collection are “fruits” from all three of his sojourns in the Madrasa-i Yûsufiya, as he called prison, recalling the unjust imprisonment of Joseph (UWP) and that prison is essentially a place of education and training. The Second Ray was the final fruit of Eskişehir Prison (1935-’36), while The Eleventh Ray has as its name Meyve Risalesi, The Fruits of Belief, and was written for his fellow prisoners in Denizli Prison (1943-’44). It consists of eleven Topics, which offer irrefutable proofs of the six main pillars of faith. The last two of the Topics, however, were written in Emirdağ, Badī’uzzaman’s place of compulsory resi dence after Emirdağ.
A uniquely international anthology--in a beautiful pocket-sized hardcover--that explores the richly symbolic expressiveness of flowers through poems from around the world and through the ages. AN EVERYMAN'S LIBRARY POCKET POET. Floral symbols adorn the earliest poetry, and over the centuries they became increasingly entwined with myth and legend, with religious symbolism, and with herbal folklore. By the early nineteenth century the "Language of Flora" was an elaborately refined system, especially in England and America, where books listing flower meanings and illustrating them with verse were perennial bestsellers. Transcending the charm of its Victorian predecessors, this anthology creates an extended, updated, and more robust floral anthology for the twenty-first century, presenting poets through the ages from Sappho, Shakespeare, and Shelley to Ted Hughes, Mary Oliver, and Louise Glück, and across the world from Cuba to Korea, Russia to Zimbabwe. Eastern cultures, rich in flower associations, are well represented: Tang poems celebrating chrysanthemums and peonies, Zen poems about orchids and lotus flowers, poems about jasmine and marigolds from India, and roses and narcissi from Persia, the Ottoman empire, and the Arabic world. The most timeless human emotions and concepts--love, hope, despair, fidelity, grief, beauty, and mortality--find colorful expression in The Language of Flowers.
Life and Death in Freud and Heidegger argues that mortality is a fundamental structuring element in human life. The ordinary view of life and death regards them as dichotomous and separate. This book explains why this view is unsatisfactory and presents a new model of the relationship between life and death that sees them as interlinked. Using Heidegger’s concept of being towards death and Freud’s notion of the death drive, it demonstrates the extensive influence death has on everyday life and gives an account of its structural and existential significance. By bringing the two perspectives together, this book presents a reading of death that establishes its significance for life, creates a meeting point for philosophical and psychoanalytical perspectives, and examines the problems and strengths of each. It then puts forth a unified view, based on the strengths of each position and overcoming the problems of each. Finally, it works out the ethical consequences of this view. This volume is of interest for philosophers, mental health practitioners and those working in the field of death studies.
A look into the literary career and critical reception of the Irish writer at home and abroad
In these short, accessible essays, Alford writes about the personal "Why I Pray," as well as the political "Simone Weil and Donald Trump." He makes some difficult theologians, such as Karl Barth and Soren Kierkegaard, accessible, while not hesitating to criticize them. Alford argues the genius of Christianity is in God making himself vulnerable so as to know what it is to be human; otherwise, God stands at a terrible distance from humanity. From this perspective, Christianity is about the teachings of Christ, and God's willingness to suffer. The resurrection, so central to most Christians, becomes less important. Myriad religious thinkers are considered, including Albert Camus, Thomas Merton, Reinhold Niebuhr, Rudolf Bultmann, and Paul Tillich, among others, including Simone Weil. Also addressed is the relationship between religion and psychology, as well as the status of natural law. Notable is the author's attitude, which combines respect for great thinkers and a willingness to call them out as wrong, confused, or misguided. Unafraid of atheism, Alford thinks many of the so-called new atheists judge religion as though it were a science, a confusion of categories. Once a philosopher of science, he knows the scope and limits of scientific explanation better than most.
This is a novel for everyone who has ever been happily married -- and for everyone who would like to be. Reminiscent of the work of David Bergen and Barbara Gowdy, Love Letters of the Angels of Death heralds the arrival of a formidable literary voice.