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The Fate of Desire examines the problems of living in a decentered world. Assuming that the poststructuralist declaration of the end of man is an essential aspect of our current ways of thinking, the book focuses on the positive values inherent in this shift. In substituting multiplicity and fields of play for identity and hierarchy, and in distinguishing between desire as fullness and desire as lack, Hans argues for a vision of existence that is based on the difficulties Nietzsche posited as an inevitable part of fully affirming the rich but tragic nature of life. These reconceptions of the human scene redefine self-discipline in terms of understanding and loving one's fate. Instead of providing yet one more critique of the flawed values through which the Western world has constituted itself, The Fate of Desire takes up the task of weighing the things of the world anew, revaluing them in terms of our present understanding of our positions in the world. Hans suggests that if we are fated to be driven by desire, and if we are led to accept the ways in which our desire manifests itself according to our own individual fates, there is still every reason to believe that humans can find a productive way of understanding and fully occupying their place in the world.
The author pens a gay man's battle to govern his health, body, and sexuality while confronted with AIDS
In 1975, when political scientist Benedict Anderson reached Wat Phai Rong Wua, a massive temple complex in rural Thailand conceived by Buddhist monk Luang Phor Khom, he felt he had wandered into a demented Disneyland. One of the world's most bizarre tourist attractions, Wat Phai Rong Wua was designed as a cautionary museum of sorts; its gruesome statues depict violent and torturous scenes that showcase what hell may be like. Over the next few decades, Anderson, who is best known for his work, Imagined Communities, found himself transfixed by this unusual amalgamation of objects, returning several times to see attractions like the largest metal-cast Buddha figure in the world and the Palace of a Hundred Spires. The concrete statuaries and perverse art in Luang Phor's personal museum of hell included, "side by side, an upright human skeleton in a glass cabinet and a life-size replica of Michelangelo's gigantic nude David, wearing fashionable red underpants from the top of which poked part of a swollen, un-Florentine penis," alongside dozens of statues of evildoers being ferociously punished in their afterlife. In The Fate of Rural Hell, Anderson unravels the intrigue of this strange setting, endeavoring to discover what compels so many Thai visitors to travel to this popular spectacle and what order, if any, inspired its creation. At the same time, he notes in Wat Phai Rong Wua the unexpected effects of the gradual advance of capitalism into the far reaches of rural Asia. Both a one-of-a-kind travelogue and a penetrating look at the community that sustains it, The Fate of Rural Hell is sure to intrigue and inspire conversation as much as Wat Phai Rong Wua itself.
This novel focuses on a group of characters who are all in different ways endeavouring to take control of their fate. Their desire to lead a genuine existence forces them to confront difficult decisions, and to break out of comfortable routines.Karl and Marina have been together for ten years and have a young son, Simón. Karl is a German-born oboist at Argentina’s national orchestra, and Marina is a meteorologist. On a field trip, she meets fellow researcher Zárate, and what might have been just a fling starts to erode the foundations of her marriage. Then there is Amer, a dynamic and successful taxidermist. At a group therapy session for smokers, Amer falls for the younger Clara. While the relationship between Karl and Marina disintegrates, the love story between Amer and Clara is just beginning – or is it already at an end? One of Argentina’s leading contemporary writers, Jorge Consiglio portrays the inner worlds of these characters through the minute details of their everyday lives, laying bare their strivings and their frustrations with a wry gaze, and seeking in this close-up texture a deeper truth.
Medusa remembers what it was like to be human and the memories are painful. As a monster, she's alone. Everyone who looks at her screams and transforms into a statue. She's tired of trying to make friends and killing people instead. When one human man, Perseus, is sent to kill her by the gods, she accepts it. She's tired of this life and ready to die. But instead of assassinating her, he falls in love after seeing what she suffers through. He can't look into her eyes, but he can touch her. His caress makes her body sizzle with more passion than she's ever felt before. But can a monster find true love when she's accidentally killed everyone else she's cared about?
Simone de Beauvoir and Luce Irigaray famously insisted on their philosophical differences, and this mutual insistence has largely guided the reception of their thought. What does it mean to return to Simone de Beauvoir and Luce Irigaray in light of questions and problems of contemporary feminism, including intersectional and queer criticisms of their projects? How should we now take up, amplify, and surpass the horizons opened by their projects? Seeking answers to these questions, the essays in this volume return to Beauvoir and Irigaray to find what the two philosophers share. And as the authors make clear, the richness of Beauvoir and Irigaray's thought far exceeds the reductive parameters of the Eurocentric, bourgeois second-wave debates that have constrained interpretation of their work. The first section of this volume places Beauvoir and Irigaray in critical dialogue, exploring the place of the material and the corporeal in Beauvoir's thought and, in doing so, reading Beauvoir in a framework that goes beyond a theory of gender and the humanism of phenomenology. The essays in the second section of the volume take up the challenge of articulating points of dialogue between the two focal philosophers in logic, ethics, and politics. Combined, these essays resituate Beauvoir and Irigaray's work both historically and in light of contemporary demands, breaking new ground in feminist philosophy.
A rake in tarnished armor… Desdemona Carlisle has spent most of her young life dreaming of a knight in shining armor. When a dashing figure in midnight-black riding a snow-white steed comes to rescue her from the ruffians who have kidnapped her, she believes her destiny has finally arrived. She surrenders herself to the masked stranger’s embrace only to discover her rescuer is none other than Harry Braxton, the scoundrel who stole her heart when she was just a girl, adding it to his collection of exotic treasures as if it were just another trinket. Harry Braxton doesn’t want to be any woman’s knight-errant. He plays the role of notorious rake to hide the dangerous secret that has kept him from offering Desdemona his own heart. But his tarnished armor soon begins to crumple beneath the irresistible assault of Desdemona’s sparkling wit, her dazzling beauty, her teasing and tender touch. As a legendary treasure hunter, he never dreamed he’d be forced to give up the most priceless treasure of all. When Lord Ravenscroft, Harry’s aristocratic cousin, comes courting, Desdemona makes a startling discovery. She might yearn for a hero, but what she really needs is a man—the only man who can fulfill all of her desires… “Connie Brockway’s work brims with warmth, wit, sensuality and intelligence.”—Amanda Quick, New York Times bestselling author “If it’s smart, sexy, and impossible to put down, it’s a book by Connie Brockway!”—Christina Dodd, New York Times bestselling author “If you’re looking for passion, tenderness, wit, and warmth, you need look no further. Connie Brockway is simply the best.”—Teresa Medeiros, New York Times bestselling author “Connie Brockway’s work belongs on every reader’s shelf!”—Romantic Times “Connie Brockway delivers romance with strength, wit, and intelligence.”—Tami Hoag, New York Times bestselling author “Brockway’s lush, lyrical writing style is a perfect match for her vivid characters, beautiful atmospheric setting, and sensuous love scenes.” — Library Journal
This volume is concerned with the concepts of rationality, belief and desire in the explanation and evaluation of human action.
Here at last in a single volume are all three of Constantine's Wraeththu trilogy: The Enchantments of Flesh and Spirit, The Bewitchments of Love and Hate, and The Fulfilments of Fate and Desire. In this powerful and elegant story set in a future Earth very different from our own, a new kind of human has evolved to challenge the dominion of Homo sapiens. This new breed is stronger, smarter, and far more beautiful than their parent race, and are endowed with psychic as well as physical gifts. They are destined to supplant humanity as we know it, but humanity won't die without a struggle.