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There has long been a politics around the way in which women are represented, with objection not so much to specific images as to a regime of looking which places the represented woman in a particular relationship to the spectator's gaze. Artists have sometimes avoided the representation of women altogether, but they are now producing images which challenge the regime. How do these images succeed in their challenge ? The Emptiness of the Image offers a psychoanalytic answer. Parveen Adams argues that, despite flaws in some of the details of its arguments, psychoanalytic theory retains an overwhelming explanatory strength in relation to questions of sexual difference and representation. She goes on to show how the issue of desire changes the way we can think of images and their effects. Throughout she discusses the work of theorists, artists and filmmakers such as Helene Deutsch, Catherine MacKinnon, Mary Kelly, Francis Bacon, Michael Powell and Della Grace. The Emptiness of the Image shows how the very space of representation can change to provide a new way of thinking the relation between the text and the spectator. It shows how psychoanalytic theory is supple enough to slide into and transform the most unexpected situations.
Winner of the 2022 Charles Rufus Morey Award from the College Art Association Guided by Aristotelian theories, medieval philosophers believed that nature abhors a vacuum. Medieval art, according to modern scholars, abhors the same. The notion of horror vacui—the fear of empty space—is thus often construed as a definitive feature of Gothic material culture. In The Absent Image, Elina Gertsman argues that Gothic art, in its attempts to grapple with the unrepresentability of the invisible, actively engages emptiness, voids, gaps, holes, and erasures. Exploring complex conversations among medieval philosophy, physics, mathematics, piety, and image-making, Gertsman considers the concept of nothingness in concert with the imaginary, revealing profoundly inventive approaches to emptiness in late medieval visual culture, from ingenious images of the world’s creation ex nihilo to figurations of absence as a replacement for the invisible forces of conception and death. Innovative and challenging, this book will find its primary audience with students and scholars of art, religion, physics, philosophy, and mathematics. It will be particularly welcomed by those interested in phenomenological and cross-disciplinary approaches to the visual culture of the later Middle Ages.
Winner of the Women’s Prize for Fiction “No one writes like Ruth Ozeki—a triumph.” —Matt Haig, New York Times bestselling author of The Midnight Library “Inventive, vivid, and propelled by a sense of wonder.” —TIME “If you’ve lost your way with fiction over the last year or two, let The Book of Form and Emptiness light your way home.” —David Mitchell, Booker Prize-finalist author of Cloud Atlas A boy who hears the voices of objects all around him; a mother drowning in her possessions; and a Book that might hold the secret to saving them both—the brilliantly inventive new novel from the Booker Prize-finalist Ruth Ozeki One year after the death of his beloved musician father, thirteen-year-old Benny Oh begins to hear voices. The voices belong to the things in his house—a sneaker, a broken Christmas ornament, a piece of wilted lettuce. Although Benny doesn't understand what these things are saying, he can sense their emotional tone; some are pleasant, a gentle hum or coo, but others are snide, angry and full of pain. When his mother, Annabelle, develops a hoarding problem, the voices grow more clamorous. At first, Benny tries to ignore them, but soon the voices follow him outside the house, onto the street and at school, driving him at last to seek refuge in the silence of a large public library, where objects are well-behaved and know to speak in whispers. There, Benny discovers a strange new world. He falls in love with a mesmerizing street artist with a smug pet ferret, who uses the library as her performance space. He meets a homeless philosopher-poet, who encourages him to ask important questions and find his own voice amongst the many. And he meets his very own Book—a talking thing—who narrates Benny’s life and teaches him to listen to the things that truly matter. With its blend of sympathetic characters, riveting plot, and vibrant engagement with everything from jazz, to climate change, to our attachment to material possessions, The Book of Form and Emptiness is classic Ruth Ozeki—bold, wise, poignant, playful, humane and heartbreaking.
The Tibetan Book of the Dead, a best-seller for three decades, is one of the most widely read texts of Tibetan Buddhism. Over the years, it has been studied and cherished by Buddhists and non-Buddhists alike. Luminous Emptiness is a detailed guide to this classic work, elucidating its mysterious concepts, terms, and imagery. Fremantle relates the symbolic world of the Tibetan Book of the Dead to the experiences of everyday life, presenting the text not as a scripture for the dying, but as a guide for the living. According to the Buddhist view, nothing is permanent or fixed. The entire world of our experience is constantly appearing and disappearing at every moment. Using vivid and dramatic imagery, the Tibetan Book of the Dead presents the notion that most of us are living in a dream that will continue from lifetime to lifetime until we truly awaken by becoming enlightened. Here, Fremantle, who worked closely with Chögyam Trungpa on the 1975 translation of the Tibetan Book of the Dead (Shambhala), brings the expertise of a lifetime of study to rendering this intriguing classic more accessible and meaningful to the living. Luminous Emptiness features in-depth explanations of: • The Tibetan Buddhist notions of death and rebirth • The meaning of the five energies and the five elements in Tibetan Buddhism • The mental and physical experience of dying, according to the Tibetan Buddhist tradition
A revelatory short memoir from the author and Zen Buddhist priest Ruth Ozeki about how her face has shaped and been shaped by her life
"This volume began life as a conference on 'Empty Spaces' held at the Institute of Historical Research in London in 2015"--Page vii.
The Emptiness of Emptiness presents the first English translation of the complete text of the Madhyamakāvatāra (Entry into the Middle Way) a sixth century Sanskrit Buddhist composition that was widely studied in Tibet and, presumably, in its native India as well. In his lengthy introduction to the translation, Huntington offers a judiciously crafted, highly original discussion of the central philosophy of Mahāyāna Buddhism. He lays out the principal ideas of emptiness and dependent origination not as abstract philosophical concepts, but rather as powerful tools for restructuring the nature of human experience at the most fundamental level. Drawing on a variety of Indian and Western sources, both ancient and modern, Huntington gradually leads the reader toward an understanding of how it is that sophisticated philosophical thinking can serve as a means for breaking down attachment to any idea, opinion or belief. All of this on the Buddhist premise that habitual, unreflective identification with ideas, opinions, or beliefs compromises our appreciation of the ungraspable miracle that lies at the heart of everyday, conventional reality. The author shows how the spiritual path of the bodhisattva works to transform the individual personality from a knot of clinging into a vehicle for the expression of profound wisdom (prajñā) and unconditional love (karuṇā).
This book extends the cultural turn in legal and criminological studies by interrogating our responses to the image. It provides a space to think through problems of ethics, social authority and the legal imagination.
Presents a new vision of the Buddhist history and philosophy of emptiness in Tibet. This book brings together perspectives of leading international Tibetan studies scholars on the subject of zhentong or “other-emptiness.” Defined as the emptiness of everything other than the continuous luminous awareness that is one’s own enlightened nature, this distinctive philosophical and contemplative presentation of emptiness is quite different from rangtong—emptiness that lacks independent existence, which has had a strong influence on the dissemination of Buddhist philosophy in the West. Important topics are addressed, including the history, literature, and philosophy of emptiness that have contributed to zhentong thinking in Tibet from the thirteenth century until today. The contributors examine a wide range of views on zhentong from each of the major orders of Tibetan Buddhism, highlighting the key Tibetan thinkers in the zhentong philosophical tradition. Also discussed are the early formulations of buddhanature, interpretations of cosmic time, polemical debates about emptiness in Tibet, the zhentong view of contemplation, and creative innovations of thought in Tibetan Buddhism. Highly accessible and informative, this book can be used as a scholarly resource as well as a textbook for teaching graduate and undergraduate courses on Buddhist philosophy. “The book contains extremely interesting material and makes a valuable contribution to the study of Tibetan Buddhism. It will be appreciated by those interested in the development of one of the important and yet understudied of its traditions, the other emptiness tradition.” — Georges B. J. Dreyfus, coeditor of The Svātantrika-Prāsaṅgika Distinction: What Difference Does a Difference Make?
Within the context of a careful review of the psychology of religion and prior non-Lacanian literature on the subject, Raul Moncayo builds a bridge between Lacanion psychoanalysis and Zen Buddhism, that steers clear of Reducing one to the other or creating a simplistic synthesis between the two. Instead, by making a purposeful "one mistake" of "unknown knowing", this book remains consistent with the analytic unconscious and continues in the splendid tradition of Bodhidharma who did not know "Who" he was and told Emperor Wu that there was no merit in building temples for Buddhism.