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This book criticizes theories, dominant today, that reduce the self to a simple illusion, proposing a new theory of the ego that allows us to better understand our existence and our relations with others.
A phenomenological approach to questions of the body, ego, temporality and intersubjective relations with the 'other' by a leading French thinker and Husserl scholar.
Doug Reed uses important insights from scripture, the historical context of Jesus's day, and personal experience to prove God's fervent passion to give Himself to us. When we understand God's purpose, we begin to see His presence in places we thought He was absent. We come to know God not as one who occasionally visits but as one who abides, always giving His gift, even when we suffer defeat, weakness, and loss. God is a Gift is invaluable for overcoming fear and finding a life filled with God's presence. It reveals how grace revolutionizes our relationship with the Lord. Topics include understanding the New Covenant, living in the gift of righteousness, abundant life, worship, and intimacy with God.
What is a woman? What is a man? How do they—and how should they—relate to each other? Does our yearning for "wholeness" refer to something real, and if there is a Whole, what is it, and why do we feel so estranged from it? For centuries now, art and literature have increasingly valorized uniqueness and self-sufficiency. The theoreticians who loom so large within contemporary thought also privilege difference over similarity. Silverman reminds us that this is but half the story, and a dangerous half at that, for if we are all individuals, we are doomed to be rivals and enemies. A much older story, one that prevailed through the early modern era, held that likeness or resemblance was what organized the universe, and that everything emerges out of the same flesh. Silverman shows that analogy, so discredited by much of twentieth-century thought, offers a much more promising view of human relations. In the West, the emblematic story of turning away is that of Orpheus and Eurydice, and the heroes of Silverman's sweeping new reading of nineteenth- and twentieth-century culture, the modern heirs to the old, analogical view of the world, also gravitate to this myth. They embrace the correspondences that bind Orpheus to Eurydice and acknowledge their kinship with others past and present. The first half of this book assembles a cast of characters not usually brought together: Friedrich Nietzsche, Sigmund Freud, Marcel Proust, Lou-Andréas Salomé, Romain Rolland, Rainer Maria Rilke, Wilhelm Jensen, and Paula Modersohn-Becker. The second half is devoted to three contemporary artists, whose works we see in a moving new light:Terrence Malick, James Coleman, and Gerhard Richter.
The Ego And Its Hyperstate is a unified theory of psychological and ethical egoism which posits self-interest. The dialectical dream theory sets its sights against capitalist notions of the self-interest contra the other, not simply with moralism, but with a more accurate analysis of the subject of self-interest than has been provided by capitalists and anarchist theorists alike. Through the lens of psychoanalysis and Hegelian dialectical logic, the process of self-interest as the ground of all human existence reveals itself. Eliot Rosenstock has a symptom he wants you to know about: he wants you to know how the nature of self-interest strikes through the notions of pure duty and state worship, he wants to bring in psychoanalyis and redeem dialectics in its power to reveal the universe rather than be a simple rhetorical tool, and he wants to reveal to you how the material conditions of the world, as well as psychological processes of mankind, work together to bring about all that is brought into the universe by humanity.
Have you ever wondered what a Hollywood movie producer actually does? In A Pound of Flesh, producer Art Linson takes us behind closed doors on a rare backstage tour through America's cruelest, most glamorous industry. Here at last is a dishy and informative guide to the entire moviemaking process--from acquiring scripts to negotiating with studio executives to shmoozing with agents and actors to facing the horror of opening night. With amusing stories about his encounters with such players as David Mamet, Robert De Niro, Jeffrey Katzenberg, and Brian DePalma, Linson offers keen insights into why some movies take the world by storm and others end up gathering dust on some forgotten studio shelf. This is essential reading for film students, movie lovers, and anyone interested in the drama of Tinseltown.
“Psychoanalysis may be said to have been born in the twentieth century,” Freud said late in his career, “but it did not drop from the skies ready-made.” And in his speculative theories of modernism, Bruno Latour argued that “no science can exit from the network of its practice.” Deploying Latour’s model of scientific theory production, this book argues that the historical emergence of psychoanalysis depended on nineteenth-century scientific practices: laboratory experimentation, medical transmission of research findings along collegial or social networks, and medical representation of illness—including case studies, amphitheatrical demonstration of cases, hospital records of symptoms, and laboratory graphology and photography of patients. The author shows how hysteria enabled Freud to appropriate medical and scientific concepts from neurology, sexology, gynecology, psychiatry, and existing rest cures and psychotherapies. His new model eschewed physiological determinism, linking unconscious ideation with counterwill and reproduced memory, psychosexual experience, and affect-laden images of object relations (usually with family members). Constructing around himself a psychoanalytic circle and establishing training institutions, Freud translated this new psycho-physical body and hybrid subjectivity to other research sites. Just as in the 1890’s he had used the figure of the hysteric to mobilize theory production, by the 1920’s he had replaced the hysteric with a modernized figure, the homosexual. Freud used autobiography, summary, and outline to stabilize his concepts and control the dissemination of his new science. Psychoanalysis had successfully created new scientific “plausible bridges” between psyche and soma, nature and the social, to produce a modern theory of hybrid subjectivity that was rooted in yet conceptually separated from the body.
Max Stirner's The Ego and Its Own is striking and distinctive in both style and content. First published in 1844, Stirner's distinctive and powerful polemic sounded the death-knell of left Hegelianism, with its attack on Ludwig Feuerbach, Bruno and Edgar Bauer, Moses Hess and others. It also constitutes an enduring critique of both liberalism and socialism from the perspective of an extreme eccentric individualism. Karl Marx was only one of many contemporaries provoked into a lengthy rebuttal of Stirner's argument. Stirner has been portrayed, variously, as a precursor of Nietzsche (both stylistically and substantively), a forerunner of existentialism and as an individualist anarchist. This edition of his work comprises a revised version of Steven Byington's much praised translation, together with an introduction and notes on the historical background to Stirner's text.
"An impressive book. An important book."—Jamie Lee Curtis "I blame mirrors. If it weren't for them we wouldn't need plastic surgeons. In the meantime, anyone tempted to re-shape face, body and mind by means of knife should first read Blum's intelligent, persuasive and absorbing book. Both enticed and alarmed, the reader will at least know what she's doing and more importantly why. This is a book that takes you and shakes you by the throat, and leaves you the better for it."—Fay Weldon, author of The Life and Loves of a She-Devil "An eye-opening look at the dangers, both physical and emotional, of plastic surgery and of the power of beauty in all of our lives. Blum's book is an impressive interweaving of observation, oral interviews, cultural studies, and historical sources. An absorbing read, this is a scholarly book that general readers can enjoy."—Lois Banner, author of American Beauty "A provocative and thoroughly persuasive argument that we live in a culture of cosmetic surgery where identity is sited on the shifting surfaces of the body. Flesh Wounds brilliantly explores the link between the seductions of surgical self-fashioning and the star system, drawing on a stunning array of materials ranging from interviews with plastic surgeons, psychoanalytic theory, and the novel to the visual media of digital photography, film, and television."—Kathleen Woodward, author of Aging and Its Discontents: Freud and Other Fictions