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Winner of the Cairo International Book Fair Prize. Specters tells the story of Radwa and Shagar, two women born the same day. The narrative alternates between their childhoods, their work lives (one a professor of literature and the other of history), their married and unmarried lives, and their respective books. With her novel’s structure, Ashour pays tribute to the Arab qareen (double or companion, and sometimes demon) and the ancient Egyptian ka (the spirit that is born with and accompanies an individual through life and beyond).
The hooded bandit -- The national bank -- The epidermal examination -- The mother's trouble -- The danger zone -- The spectre -- Your fantasy, my crime.
My book is a collection of short stories and poetry I have written over the past few years. I recently graduated from Ball State University in Muncie, IN with a B.S. in philosophy. Imagine that I have a B.S. in B.S. from B.S.U. my goal is to write fiction novels. My poetry has been featured and published in small time contests and anthologies.
Prodigiously influential, Jacques Derrida gave rise to a comprehensive rethinking of the basic concepts and categories of Western philosophy in the latter part of the twentieth century, with writings central to our understanding of language, meaning, identity, ethics and values. In 1993, a conference was organized around the question, 'Whither Marxism?’, and Derrida was invited to open the proceedings. His plenary address, 'Specters of Marx', delivered in two parts, forms the basis of this book. Hotly debated when it was first published, a rapidly changing world and world politics have scarcely dented the relevance of this book.
"A review of astronomy" (varies).
Flexible Design offers an extended and detailed treatment of the gradual shift that took place in Blake's poetics during the composition, transcription, and revision of Vala or The Four Zoas. Pierce traces how, in the process of revision, Blake experimented with characterization, increased the importance of Christian symbolism, and developed a mode of narrative presentation controlled less by chronological sequence than by the use of thematic juxtaposition and typology.
Establishes Blake's controversial, unfinished epic, The Four Zoas, as the culmination of his mythos.
In September 1781, the captain of the British slave ship Zong ordered 133 slaves thrown overboard, enabling the ship’s owners to file an insurance claim for their lost “cargo.” Accounts of this horrific event quickly became a staple of abolitionist discourse on both sides of the Atlantic. Ian Baucom revisits, in unprecedented detail, the Zong atrocity, the ensuing court cases, reactions to the event and trials, and the business and social dealings of the Liverpool merchants who owned the ship. Drawing on the work of an astonishing array of literary and social theorists, including Walter Benjamin, Giovanni Arrighi, Jacques Derrida, and many others, he argues that the tragedy is central not only to the trans-Atlantic slave trade and the political and cultural archives of the black Atlantic but also to the history of modern capital and ethics. To apprehend the Zong tragedy, Baucom suggests, is not to come to terms with an isolated atrocity but to encounter a logic of violence key to the unfolding history of Atlantic modernity. Baucom contends that the massacre and the trials that followed it bring to light an Atlantic cycle of capital accumulation based on speculative finance, an economic cycle that has not yet run its course. The extraordinarily abstract nature of today’s finance capital is the late-eighteenth-century system intensified. Yet, as Baucom highlights, since the late 1700s, this rapacious speculative culture has had detractors. He traces the emergence and development of a counter-discourse he calls melancholy realism through abolitionist and human-rights texts, British romantic poetry, Scottish moral philosophy, and the work of late-twentieth-century literary theorists. In revealing how the Zong tragedy resonates within contemporary financial systems and human-rights discourses, Baucom puts forth a deeply compelling, utterly original theory of history: one that insists that an eighteenth-century atrocity is not past but present within the future we now inhabit.