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A rich, thoughtful investigation of this political/historical moment that both illuminates and transcends that moment.
Unquestionably an influential thinker in Italy today, Giorgio Agamben has contributed to some of the most vital philosophical debates of our time. "The Coming Community" is an indispensable addition to the body of his work. How can we conceive a human community that lays no claim to identity - being American, being Muslim, being communist? How can a community be formed of singularities that refuse any criteria of belonging? Agamben draws on an eclectic and exciting set of sources to explore the status of human subjectivities outside of general identity. From St Thomas' analysis of halos to a stocking commercial shown in French cinemas, and from the Talmud's warning about entering paradise to the power of the multitude in Tiananmen Square, Agamben tracks down the singular subjectivity that is coming in the contemporary world and shaping the world to come. Agamben develops the concept of community and the social implications of his philosophical thought. "The Coming Community" offers both a philosophical mediation and the beginnings of a new foundation for ethics, one grounded beyond subjectivity, ideology, and the concepts of good and evil. Agamben's exploration is, in part, a contemporary and creative response to the work of Heidegger, Wittgenstein, Blanchot, Jean-Luc Nancy, and, more historically, Plato, Spinoza, and medieval scholars and theorists of Judeo-Christian scriptures. This volume is the first in a new series that encourages transdisciplinary exploration and destabilizes traditional boundaries between disciplines, nations, genders, races, humans, and machines. Giorgio Agamben currently teaches philosophy at the College International de Philosophie in Paris and at the University of Macerata (Italy). He is the author of "Language and Death" (Minnesota, 1991) and "Stanzas" (Minnesota, 1992). This book is intended for those in the fields of cultural theory, literary theory, philosophy.
Popular media, art and science are intricately interlinked in contemporary visual culture. This book analyses the scientific imaginary that is the result of the profound effects of science upon the imagination, and conversely, of the imagination in and upon science. As scientific developments in genetics occur and information technology and cybernetics open up new possibilities of intervention in human lives, cultural theorists have explored the notion of the posthuman. The Scientific Imaginary in Visual Culture analyses figurations of the posthu-man in history and philosophy, as well as in its utopian and dystopian forms in art and popular culture. The authors thus address the blurring boundaries between art and science in diverse media like science fiction film, futurist art, video art and the new phenomenon of bio-art. In their evaluations of the scientific imaginary in visual culture, the authors engage critically with current scientific and technological concerns.
Cat Moselle is associate editor for a tabloid in Denver. After a werewolf saves her life, Cat writes up the story, though it's so bizarre she wonders if it really happened. But the werewolf is real, and is now cursing himself for bringing attention to Denver's werewolves. Lucius may have jeopardized his clan, but something about Cat's scent suggests she isn't entirely human.
Can I Trust You? (Romantic Suspense) by Sharaya Lee Zoe Landers realizes that a determined hacker is taking her life apart. A dark cyber master is weaving a web around her that will lead to total domination. Will he succeed? Nick Gaulo thinks the girl lying in the street is the most beautiful woman he ever saw. He rescues her. He romances her. He hopes she’ll never find out who he really is.
Ype de Boer invites you to rethink what you know about the philosophy of Giorgio Agamben. In a compelling and original argument, De Boer contends that, in the work of Agamben, ethics takes primacy over politics. Presenting a careful evaluation of Agamben's overlooked contribution to ethics, this book explores his enigmatic yet central concept of the 'happy life'. By reading Agamben's philosophy in terms of a 'poetico-philosophical experiment' – a term coined by the Italian philosopher himself, and one through which he questions our very mode of existence – De Boer assesses the variety of ethical paradigms that Agamben's work offers. This not only challenges the widespread misconception of Agamben as the 'dark prophet' known for his pessimistic, even nihilistic political critiques, but reveals how understanding the various facets of the 'happy life' allows for a better appreciation of his attacks on the ethico-political condition. Agamben's Ethics and the Happy Life demonstrates that ultimately Agamben seeks to formulate an alternative notion of ethics, politics and ontology that will lead us out of nihilism. Tracing Agamben's positive moral philosophy through his key works, including the seminal Homo Sacer series, De Boer uncovers how, for Agamben, a happy life is one directed not by responsibility, guilt, action and duty, but by receptivity, love, use and potentiality.
A weekly review of politics, literature, theology, and art.
Poetry. LYRIC POSTMODERNISMS gathers many well established poets whose work transcends the boundaries between traditional lyric and avant-garde experimentation. Some have been publishing since the 1960s, some have emerged more recently, but all have been influential on newer generations of American poets. Many of these poets are usually not thought of together, being considered as members of different poetic "camps," but they nonetheless participate in a common project of expanding the boundaries of what can be said and done in poetry. This anthology sheds new light on their work, creating a new constellation of contemporary American poetry. This collection provides an opportunity for readers to get to know the work of many writers who may not have received the attention their work and its impact on newer writers deserve. Unlike many anthologies that offer only snippets of writers' work, it contains substantial selections from each poet. Uniquely, it also includes aesthetic statements from each author, which can offer an entryway for readers unfamiliar with the work. Contributors: Nathaniel Mackey, Suzanne Paola, Bin Ramke, Donald Revell, Martha Ronk, Aaron Shurin, Carol Snow, Susan Stewart, Cole Swensen, Rosmarie Waldrop, Marjorie Welish, Elizabeth Willis, Bruce Beasley, Martine Bellen, Mei-mei Berssenbrugge, Gillian Conoley, Kathleen Fraser, Forrest Gander, C. S. Giscombe, Peter Gizzi, Brenda Hillman, Claudia Keelan, Timothy Liu.
Reveals the hidden origins of kitsch in poetry from the eighteenth century. Taking its title from John Keats, My Silver Planet contends that the problem of elite poetry’s relation to popular culture bears the indelible mark of its turbulent incorporation of vernacular poetry—a legacy shaped by nostalgia, contempt, and fraudulence. Daniel Tiffany reactivates and fundamentally redefines the concept of kitsch, freeing it from modernist misapprehension and ridicule, by tracing its origin to poetry’s alienation from the emergent category of literature. Tiffany excavates the forgotten history of poetry’s relation to kitsch, beginning with the exuberant revival of archaic (and often spurious) ballads in Britain in the early eighteenth century. In these controversial events of poetic imposture, Tiffany identifies a submerged pact—in opposition to the bourgeois values of literature—between elite and vernacular poetries. Tiffany argues that the ballad revival—the earliest explicit formation of what we now call popular culture—sparked a perilous but seemingly irresistible flirtation (among elite audiences) with poetic forgery that endures today in the ambiguity of the kitsch artifact: Is it real or fake, art or kitsch? He goes on to trace the genealogy of kitsch in texts ranging from nursery rhymes and poetic melodrama to the lyric commodities of Baudelaire. He scrutinizes the fascist “paradise” inscribed in Ezra Pound’s Cantos as well as the avant-garde poetry of the New York School and its debt to pop and “plastic” art. By exposing and elaborating the historical poetics of kitsch, My Silver Planet transforms our sense of kitsch as a category of material culture.
Offering a novel, transdisciplinary approach to environmental law, its principles, mechanics and context, as tested in its application to the urban environment, this book traces the conceptual and material absence of communication between the human and the natural and controversially includes such an absence within a system of law and a system of geography which effectively remain closed to environmental considerations. The book looks at Niklas Luhmann's theory of autopoiesis. Introducing the key concepts and operations, contextualizing them and opening them up to critical analysis. Indeed, in contrast to most discussions on autopoiesis, it proposes a radically different reading of the theory, in line with critical legal, political, sociological, urban and ecological theories, while drawing from writings by Husserl and Derrida, as well as Latour, Blanchot, Haraway, Agamben and Nancy. It explores a range of topics in the areas of environmental law and urban geography, including: environmental risk, environmental rights, the precautionary principle, intergenerational equity and urban waste discourses on community, nature, science and identity. The author redefines the traditional foundations of environmental law and urban geography and suggests a radical way of dealing with scientific ignorance, cultural differences and environmental degradation within the perceived need for legal delivery of certainty.