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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.
A revelatory alternative to the standard economic models of human behavior that proposes an exciting new way to understand decision-making Why do we do the things we do? The classical view of economics is that we are rational individuals, making decisions with the intention of maximizing our preferences. Behaviorists, on the other hand, see us as relying on mental shortcuts and conforming to preexisting biases. Richard Robb argues that neither explanation accounts for those things that we do for their own sake, and without understanding these sorts of actions, our picture of decision†‘making is at best incomplete. Robb explains how these choices made seemingly without reason belong to a realm of behavior he identifies as “for†‘itself.” A provocative combination of philosophy and economics that offers a key to many of our quixotic choices, this groundbreaking volume provides a new way to understand everything from investing to how hard we work to how we manage daily interactions.
Explores the process of "becoming woman" through an analysis of the depiction of girls and young women in contemporary Anglo-American and German literary texts.
Victorian England: a Jesuit priest writes of wrestling with God at night, limbs entangled; an Anglican sister begs Jesus, her divine lover, to end her aching anticipation of their union; a clergyman exhorts nuns to study the example of medieval women who suffered on the rack in order to become "brides" of Christ. Alongside the march of nineteenth-century progress ran a seemingly paradoxical fascination with a dark, erotically suggestive side of religious devotion: the figuration of the Christian God as a heavenly bridegroom who doles out punishment to his bride, the individual soul. Through innovative case studies of Victorian religious poetry, Amanda Paxton reveals that while the punitive model proved a convenient rhetorical tool with which to deflate burgeoning nineteenth-century campaigns for women’s rights and challenges to Church authority, in the hands of several writers it also provided a means of resisting patriarchal institutions and interrogating distinctions between science and religion. Willful Submission is the first full-length volume to examine the interplay of sex, suffering, and religion as a touchstone in Victorian culture and verse.
Differences That Matter challenges existing ways of theorising the relationship between feminism and postmodernism which ask 'is or should feminism be modern or postmodern?' Sara Ahmed suggests that postmodernism has been allowed to dictate feminist debates and calls instead for feminist theorists to speak (back) to postmodernism, rather than simply speak on (their relationship to) it. Such a 'speaking back' involves a refusal to position postmodernism as a generalisable condition of the world and requires closer readings of what postmodernism is actually 'doing' in a variety of disciplinary contexts. Sara Ahmed hence examines constructions of postmodernism in relation to rights, ethics, subjectivity, authorship, meta-fiction and film.
“With deft prose and page after page of keen insights, Heffernan shows why we close our eyes to facts that threaten our families, our livelihood, and our self-image--and, even better, she points the way out of the darkness.” --Daniel H. Pink In the tradition of Malcolm Gladwell and Nassim Nicholas Taleb, Margaret Heffernan's Willful Blindness is a tour de force on human behavior that will open your eyes. Why, after every major accident and blunder, do we look back and say, How could we have been so blind? Why do some people see what others don't? And how can we change? Drawing on studies by psychologists and neuroscientists, and from interviews with business leaders, whistleblowers, and white collar criminals, distinguished businesswoman and writer Margaret Heffernan examines the phenomenon of willful blindness, exploring the reasons that individuals and groups are blind to impending personal tragedies, corporate collapses, engineering failures-even crimes against humanity. We turn a blind eye in order to feel safe, to avoid conflict, to reduce anxiety, and to protect prestige. But greater understanding leads to solutions, and Heffernan shows how-by challenging our biases, encouraging debate, discouraging conformity, and not backing away from difficult or complicated problems-we can be more mindful of what's going on around us and be proactive instead of reactive.
From the New York Times Bestselling author Steven Erikson comes a new science fiction novel of devil-may-care, near calamitous and downright chaotic adventures through the infinite vastness of interstellar space. These are the voyages of the starship A.S.F. Willful Child. Its ongoing mission: to seek out strange new worlds on which to plant the Terran flag, to subjugate and if necessary obliterate new life-forms, to boldly blow the... And so we join the not-terribly-bright but exceedingly cock-sure Captain Hadrian Sawback and his motley crew on board the Starship Willful Child for a series of devil-may-care, near-calamitous and downright chaotic adventures through ‘the infinite vastness of interstellar space.' The New York Times bestselling author of the acclaimed Malazan Book of the Fallen sequence has taken his lifelong passion for Star Trek and transformed it into a smart, inventive, and hugely entertaining spoof on the whole mankind-exploring-space-for-the-good-of-all-species-but-trashing-stuff-with-a-lot-of-high-tech-gadgets-along-the-way, overblown adventure. The result is an SF novel that deftly parodies the genre while also paying fond homage to it. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Taking in a wide range of film, television, and literature, this volume explores 21st century horror and its monsters from an intersectional perspective with a marked emphasis on gender and race. The analysis, which covers over 70 narratives, is organized around four primary monstrous figures--zombies, vampires, witches and monstrous women. Arguing that the current horror renaissance is populated with willful monsters that subvert prevailing cultural norms and systems of power, the discussion reads horror in relation to topics of particular import in the contemporary moment--rampant sexual violence, unbridled capitalist greed, brutality against people of color, militarism, and the patriarchy's refusal to die. Examining ground-breaking films and television shows such as Get Out, Us, The Babadook, A Quiet Place, Stranger Things, Penny Dreadful, and The Passage, as well as works by key authors like Justin Cronin, Carmen Maria Machado, Helen Oyeyemi, Margo Lanagan, and Jeanette Winterson, this monograph offers a thorough account of the horror landscape and what it says about the 21st century world.
Honorable Mention for the National Women’s Studies Association's 2021 Gloria E. Anzaldúa Book Prize 2021 Finalist Best LGBTQ+ Themed Book, International Latino Book Awards 2022 John Leo & Dana Heller Award for Best Single Work, Anthology, Multi-Authored, or Edited Book in LGBTQ Studies, Popular Culture Association The Alan Bray Memorial Book Prize, GL/Q Caucus, Modern Language Association (MLA) 2022 AAHHE Book of the Year Award, American Association of Hispanics in Higher Education Within queer, transgender, and Latinx and Chicanx cultural politics, brown transgender narratives are frequently silenced and erased. Brown trans subjects are treated as deceptive, unnatural, nonexistent, or impossible, their bodies, lives, and material circumstances represented through tropes and used as metaphors. Restoring personhood and agency to these subjects, Francisco J. Galarte advances “brown trans figuration” as a theoretical framework to describe how transness and brownness coexist within the larger queer, trans, and Latinx historical experiences. Brown Trans Figurations presents a collection of representations that reveal the repression of brown trans narratives and make that repression visible and palpable. Galarte examines the violent deaths of two transgender Latinas and the corresponding narratives that emerged about their lives, analyzes the invisibility of brown transmasculinity in Chicana feminist works, and explores how issues such as transgender politics can be imagined as part of Chicanx and Latinx political movements. This book considers the contexts in which brown trans narratives appear, how they circulate, and how they are reproduced in politics, sexual cultures, and racialized economies.
Fifty years of feminist thought have made the idea that women stay at home while men dominate the streets seem outdated; nevertheless, Ceuterick argues that theoretical considerations of gender, space, and power in film theory remain limited by binary models. Looking instead to more fluid models of spatial relations inspired by Sara Ahmed, Rosi Braidotti, and Doreen Massey, this book discovers wilful, affirmative, and imaginative activations of gender on screen. Through close, micro-analysis of historic European Messidor (Alain Tanner, 1979) and contemporary world cinema: Vendredi Soir (Claire Denis, 2002), Wadjda (Haifaa Al-Mansour, 2012), and Head-On (Fatih Akin, 2004), this book identifies affirmative aesthetics: light, texture, rhythm, movement and sound, all of which that participate in a rewriting of bodies and spaces. Ultimately, Ceuterick argues, affirmative aesthetics can challenge the gender categories and power structures that have been thought to determine our habitation of cars, homes, and city streets. Wilful women drive this book forward, through their movement and stillness, imagination and desire, performance and abjection.