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This edited collection explores the ways in which our understanding of the past in Dutch history and culture can be rethought to consider not only how it forms part of the present but how it can relate also to the future. Divided into three parts – The Uses of Myth and History, The Past as Illumination of Cultural Context, and Historiography in Focus – this book seeks to demonstrate the importance of the past by investigating the transmission of culture and its transformations. It reflects on the history of historiography and looks critically at the products of the historiographic process, such as Dutch and Afrikaans literary history. The chapters cover a range of disciplines and approaches: some authors offer a broad view of a particular period, such as Jonathan Israel's contribution on myth and history in the ideological politics of the Dutch Golden Age, while others zoom in on specific genres, texts or historical moments, such as Benjamin Schmidt’s study of the doolhof, a word that today means ‘labyrinth’ but once described a 17th-century educational amusement park. This volume, enlightening and home to multiple paths of enquiry leading in different directions, is an excellent example of what a past-present doolhof might look like.
Yuri, a teen of the 21st century, has been transported to ancient Anatolia as part of a scheme by the evil Nakia, Queen of the Hittites. Only the intervention of Nakia's stepson, Prince Kail, saved Yuri from the Queen's bloodthirsty intentions. As an unintended consequence, the people of the kingdoms of Anatolia have embraced Yuri as the incarnation of the great war-goddess Ishtar. Queen Nakia schemes to frame Yuri for the king's murder, expecting that the Senate will order her execution. Her plan seems to be foiled when Nakia's own son comes forth to claim that Yuri cannot be the assassin! In a last desperate attempt to do away with Yuri, Nakia uses her dark magic to take control of the situation. The Senate seems poised to do the queen's dirty work, but as usual, Kail has other plans…
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Mixing documents, interviews, fiction, theory, poetry, psychiatry and anthropology, "Polysexuality" became the encyclopedia sexualis of a continent that is still emerging. Originally conceived as a special Semiotext(e) issue on homosexuality at the end of the 70s, “Polysexuality" quickly evolved into a more complex and iconoclastic project whose intent was to do away with recognized genders altogether, considered far too limitative. The project landed somewhere between humor, anarchy, science-fiction, utopia and apocalypse. In the few years that it took to put it together, it also evolved from a joyous schizo concept to a darker, neo-Lacanian elaboration on the impossibility of sexuality. The tension between the two, occasionally perceptible, is the theoretical subtext of the issue. Upping the ante on gender distinctions, "Polysexuality" started by blowing wide open all sexual classifications, inventing unheard-of categories, regrouping singular features into often original configurations, like Corporate Sex, Alimentary Sex, Soft or Violent Sex, Discursive Sex, Self- Sex, Animal Sex, Child Sex, Morbid Sex, or Sex of the Gaze. Mixing documents, interviews, fiction, theory, poetry, psychiatry and anthropology, "Polysexuality" became the encyclopedia sexualis of a continent that is still emerging. What it displayed in all its forms could be called, broadly speaking, the Sexuality of Capital. (Actually the issue being rather hot, it was decided to cool it off somewhat by only using “capitals” throughout the issue. It was also the first issue for which we used the computer). The "Polysexuality" issue was attacked in Congress for its alleged advocation of animal sex. Includes work by Alain Robbe-Grillet, Félix Guattari, Paul Verlaine, William S. Burroughs, Georges Bataille, Pierre Klossowski, Roland Barthes, Paul Virilio, Peter Lamborn Wilson, and more.
"The book first places Africa in the context of world history at the opening of the seventh century, before examining the general impact of Islamic penetration, the continuing expansion of the Bantu-speaking peoples, and the growth of civilizations in the Sudanic zones of West Africa"--Back cover.
Oh dear, it seems I was reincarnated into a modern otome game from a fantasy world! All I ever wanted was to be free of my responsibilities as a countess and I finally got my wish when I was reborn as a commoner in modern Japan. Everything was going perfect, except it turns out this is the world of an otome game and some crazy girl who goes around calling herself the “heroine” is upset at me for stealing all her “events” with the “love interests”… Now she wants me to team up with her against the “villainess”. I’m supposedly just a random NPC, so why am I being dragged into this?!