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"Few sites within the university open a richer critical reflection than that of the M.F.A., with its complex crossing of professionalism, theory, humanistic knowledge, and the absolute exposure of practice. Howard Singerman's Art Subjects does a magnificent job of both laying out our current crises, letting us see the shards of past practices embedded in them, and of demonstrating—rendering urgent and discussable—what it now means either to assume or award the name of the artist."—Stephen Melville, author of Seams, editor of Vision and Textuality "Art Subjects is a must read for anyone interested in both the education and status of the visual artist in America. With careful attention to detail and nuance, Singerman presents a compelling picture of the peculiarly institutional myth of the creative artist as an untaught and unteachable being singularly well adapted to earn a tenure position at a major research university. A fascinating study, thoroughly researched yet oddly, and movingly, personal."—Thomas Lawson, Dean, Art School, CalArts
Critical social theory has long been marked by a deep, creative, and productive relationship with psychoanalysis. Whereas Freud and Fromm were important cornerstones for the early Frankfurt School, recent thinkers have drawn on the object-relations school of psychoanalysis. Transitional Subjects is the first book-length collection devoted to the engagement of critical theory with the work of Melanie Klein, Donald Winnicott, and other members of this school. Featuring contributions from some of the leading figures working in both of these fields, including Axel Honneth, Joel Whitebook, Noëlle McAfee, Sara Beardsworth, and C. Fred Alford, it provides a synoptic overview of current research at the intersection of these two theoretical traditions while also opening up space for further innovations. Transitional Subjects offers a range of perspectives on the critical potential of object-relations psychoanalysis, including feminist and Marxist views, to offer valuable insight into such fraught social issues as aggression, narcissism, “progress,” and torture. The productive dialogue that emerges augments our understanding of the self as intersubjectively and socially constituted and of contemporary “social pathologies.” Transitional Subjects shows how critical theory and object-relations psychoanalysis, considered together, have not only enriched critical theory but also invigorated psychoanalysis.
First published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Moscovici traces some of the ruptures and continuities between the 18th century masculinist formulations of subjectivity and the contemporary postmodern and feminist critiques of the universal subject.
In Willful Subjects Sara Ahmed explores willfulness as a charge often made by some against others. One history of will is a history of attempts to eliminate willfulness from the will. Delving into philosophical and literary texts, Ahmed examines the relation between will and willfulness, ill will and good will, and the particular will and general will. Her reflections shed light on how will is embedded in a political and cultural landscape, how it is embodied, and how will and willfulness are socially mediated. Attentive to the wayward, the wandering, and the deviant, Ahmed considers how willfulness is taken up by those who have received its charge. Grounded in feminist, queer, and antiracist politics, her sui generis analysis of the willful subject, the figure who wills wrongly or wills too much, suggests that willfulness might be required to recover from the attempt at its elimination.
Susan Bernstein examines the gendered power relationships embedded in confessional literature of the Victorian period. Exploring this dynamic in Charlotte Bronta's Villette, Mary Elizabeth Braddon's Lady Audley's Secret, George Eliot's Daniel Deronda, and Thomas Hardy's Tess of the d'Urbervilles, she argues that although women's disclosures to male confessors repeatedly depict wrongdoing committed against them, they themselves are viewed as the transgressors. Bernstein emphasizes the secularization of confession, but she also places these narratives within the context of the anti-Catholic tract literature of the time. Based on cultural criticism, poststructuralism, and feminist theory, Bernstein's analysis constitutes a reassessment of Freud's and Foucault's theories of confession. In addition, her study of the anti-Catholic propaganda of the mid-nineteenth century and its portrayal of confession provides historical background to the meaning of domestic confessions in the literature of the second half of the century. Originally published in 1997. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Curious Subjects makes the striking and original argument that what we find at the intersection between women subjects (who choose and enter into contracts) and women objects (owned and defined by fathers, husbands, and the law) is curiosity.
Volume 2 of Non-nominative Subjects (NNSs) presents the most recent research on this topic from a wide range of languages from diverse language families of the world, with ample data and in-depth analysis. A significant feature of these volumes is that authors with different theoretical perspectives study the intricate questions raised by these constructions. Some of the central issues include the subject properties of noun phrases with ergative, dative, accusative and genitive case, case assignment and checking, anaphor–antecedent coreference, the nature of predicates with NNSs, whether they are volitional or non-volitional, possibilities of control coreference and agreement phenomena. These analyses have significant implications for theories of syntax and verbal semantics, first language acquisition of NNSs, convergence of case marking patterns in language contact situations, and the nature of syntactic change.
Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese. These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.