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In 2002, Neil Whitehead published Dark Shamans: Kanaimà and the Poetics of Violent Death, in which he applied the concept of poetics to the study of violence and observed the power of violence in the creation and expression of identity and social relationships. The Poetics of Processing applies Whitehead’s theory on violence to mortuary and skeletal assemblages in the Andes, Mexico, the US Southwest, Jordan, Ethiopia, Egypt, and Turkey, examining the complex cultural meanings of the manipulation of remains after death. The contributors interpret postmortem treatment of the physical body through a poetics lens, examining body processing as a mechanism for the re-creation of cosmological events and processing’s role in the creation of social memory. They analyze methods of processing and the ways in which the living use the physical body to stratify society and gain power, as evidenced in rituals of body preparation and burial around the world, objects buried with the dead and the hierarchies of tomb occupancy, the dissection of cadavers by medical students, the appropriation of living spaces once occupied by the dead, and the varying treatments of the remains of social outsiders, prisoners of war, and executed persons. The Poetics of Processing combines social theory and bioarchaeology to examine how the living manipulate the bodies of the dead for social purposes. These case studies—ranging from prehistoric to historic and modern and from around the globe—explore this complex material relationship that does not cease with physical death. This volume will be of interest to mortuary archaeologists, bioarchaeologists, and cultural anthropologists. Contributors: Dil Singh Basanti, Roselyn Campbell, Carlina de la Cova, Eric Haanstad, Scott Haddow, Christina Hodge, Christopher Knusel, Kristin Kuckelman, Clark Spencer Larsen, Debra Martin, Kenneth Nystrom, Adrianne Offenbecker, Megan Perry, Marin Pilloud, Beth K. Scaffidi, Mehmet Somel, Kyle D. Waller
Discusses literary representations of death to explore the relation between writing and death--death understood as both the death of the individual and the death of meaning.
These papers on the structure of the literary process were brought together in memory of Felix Vodička (1909–1974). Contributions by: Jacek Baluch, Miroslav Červenka, Květoslav Chvatík, E.M. van Dam-Havelková, Sergej Davydov, Lubomir Doležel, Miroslav Drozda, Jan van der Eng, F.W. Galan, Mojmír Grygar, Wolfgang Iser, Milan Jankovič, Hans Robert Jauss, Renate Lachmann, Gail Lenhoff, Ladislav Matějka, Tone Pretnar, Lucylla Pszczołowska, Janice A. Radway, Charles Eric Reeves, Herta Schmid, Miloš Sedmidubský, Peter Steiner, Wendy Steiner, Oleg Sus, Ronald Vroon.
From the acclaimed author of Blue Self-Portrait comes a blistering new novel, written and set during the state of emergency declared in France in the wake of the 2015 terrorist attacks in Paris. In the beautiful and traditionally conservative city of Lyon, police and protestors against new labour laws clash in the streets. Lefebvre's anonymous narrator is a poet existing on a diet of cannabis, bananas and books on oppression under the Third Reich. Drawn by the spectre of an overbearing father and spooked by the liveliness of the local far right, they are torn between the push to find a job and the pull to write. The result is this troubling account of how nationalism feeds off late capitalism; a semi-serious treatise in ten lessons, addressed to young poets, and survival guide for the wilfully idle.
In this bold new work, Ray Gibbs demonstrates that human cognition is deeply poetic and that figurative imagination constitutes the way we understand ourselves and the world in which we live.
This book analyzes theatre scene design through the powers and characteristics of physical space. Physical space is central to creative composition in the theatre, but the author extends the reach of the book to individuals concerned with spatial design--architects, interior designers, industrial designers, artists and other performers. A theory is presented on how design, and its creative process, echo the process of human awareness and action. The book covers an array of considerations for the theatre designer--the observable features of given physical spaces, their layout, detailing and atmosphere--and presents these features from the points of view of various disciplines. There are chapters on the "physics" of space, the "geography" of space and the "music" of space. The author also speaks to the less tangible qualities sensed more personally, such as the "spirituality" or the "psyche" of space. A discussion of the collaborative process of creating space is included. Instructors considering this book for use in a course may request an examination copy here.
Throughout the history of the United States, a commitment to both democratic political ideals and to capitalist realities has made privacy a persistently controversial issue. Only rarely, however, has privacy attracted the attention of American literary criticism. In his ingeniously argued new study, Louis A. Renza extends the idea of privacy beyond the received wisdom of its popular legal and psychological conceptions and, iconoclastically, beyond its conception in postmodern literary theory to show that the public-private paradigm has import for American literary texts past and present. It is a truism of cultural studies that the interior space of imagination is socially constructed and thus that the private is ineluctably political. But Renza shows, through a brilliantly original analysis of works by Edgar Allan Poe and Wallace Stevens, that as an effect of reading and writing, a real or “radical” privacy continually resists appropriation. In admirably close readings of Poe’s tales, his long essay Eureka, and Stevens’s Harmonium poems, Renza demonstrates that both writers ground the concept of privacy in the possibility of multiple interpretations of their texts. Neither Poe nor Stevens resists meaning or sense, but by thematically engaging in their work the inescapable public/private dichotomy of artistic creation, they create a highly personal idiom that, like Poe’s “purloined letter,” allows them to “hide in plain sight” and in that way to finesse public constructions of meaning. Thus, surprisingly, privacy can always be conceived as something more than what current social-cultural codes urge us to believe. The poetics Renza compellingly elucidates does not deny the insights of current theory but offers a refreshing alternative that allows for the “radical” autonomy of authorship without resorting to vague elitist claims of individual genius. His thoughtful readings are a major contribution to traditional Poe and Stevens scholarship, and his challenging thesis will provoke new investigations into the privacy issue in American literature as a whole.
A Penelopean Poetics looks at the relationship between gender ideology and the self-referential poetics of the Odyssey through the figure of Penelope. She is a cunning story-teller; her repeated reweavings of Laertes' shroud a figurative replication of the process of oral poetic composition itself. Penelope's web is thus a discourse and it can be construed specifically as feminine. Her gendered poetics celebrates process, multiplicity, and ambiguity and it resists phallocentric discourse by undermining stable and fixed meanings. Penelope's poetics become a discursive thread through which different feminine voices can realize their resistant capacities. Author Barbara Clayton's work contributes to discussions in the classics as well as literary criticism, sex and gender studies, and women's studies.
Georg Trakl (1887–1914) has emerged as one of the most influential poets of the century. Kudszus both explores and participates in the relentless process of Trakl’s writing. Presumptions of objectivity, authority, dialogue, and coherence are questioned in a discourse that also involves Martin Heidegger’s philosophical reflections on Trakl, C. G. Jung’s self-analytical reading of James Joyce’s Ulysses, and the Bluebeard tale as related by Charles Perrault. Faithful to its title, Poetic Process activates key issues of twentieth-century poetry—terror, pain, madness, imagination unbound—through a dynamically self-reflective inquiry. Under the impact of the poetic text, this investigation engages in a continuous refinement and transformation of its own critical stance. Poetic Process draws on the ability of poetry to explore uncharted realms of the human condition. The result is a contribution to the knowledge of poetic language and effects.
For more than 200 years, archaeological sites in the Middle East have been dug, sifted, sorted, and saved by local community members who, in turn, developed immense expertise in excavation and interpretation and had unparalleled insight into the research process and findings—but who have almost never participated in strategies for recording the excavation procedures or results. Their particular perspectives have therefore been missing from the archaeological record, creating an immense gap in knowledge about the ancient past and about how archaeological knowledge is created. Why Those Who Shovel Are Silent is based on six years of in-depth ethnographic work with current and former site workers at two major Middle Eastern archaeological sites—Petra, Jordan, and Çatalhöyük, Turkey—combined with thorough archival research. Author Allison Mickel describes the nature of the knowledge that locally hired archaeological laborers exclusively possess about artifacts, excavation methods, and archaeological interpretation, showing that archaeological workers are experts about a wide range of topics in archaeology. At the same time, Mickel reveals a financial incentive for site workers to pretend to be less knowledgeable than they actually are, as they risk losing their jobs or demotion if they reveal their expertise. Despite a recent proliferation of critical research examining the history and politics of archaeology, the topic of archaeological labor has not yet been substantially examined. Why Those Who Shovel Are Silent employs a range of advanced qualitative, quantitative, and visual approaches and offers recommendations for archaeologists to include more diverse expert perspectives and produce more nuanced knowledge about the past. It will appeal to archaeologists, science studies scholars, and anyone interested in challenging the concept of “unskilled” labor.