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Slavoj Žižek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. Žižek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's Vertigo to Stephen King's Pet Sematary, from McCullough's An Indecent Obsession to Romero's Return of the Living Dead—a strategy of "looking awry" that recalls the exhilarating and vital experience of Lacan. Žižek discovers fundamental Lacanian categories the triad Imaginary/Symbolic/Real, the object small a, the opposition of drive and desire, the split subject—at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of Žižek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is not saying, Žižek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.
On my way to investigate my aunt’s untimely death, I chance upon a teenager with purple eyes. Her destiny is so vibrant, so intertwined with the essence that fuels all our lives, that I cannot stand to see her caged and crushed. What I don’t know is that rescuing the teen isn’t chance or happenstance at all. It isn’t just another random bit of destiny I can fix. It’s a snag in the weave of the universe that unravels … everything. I am exactly who I am meant to be. I belong to no one but the universe. My destiny was spun and measured before I was born. I never really had a choice. But the path that brought me to becoming the Conduit at least a century before my time has been manipulated. And along the way, I’ve somehow lost far more than I ever knew I had. Friends. Lovers. Soul-bound mates. More than just my life has been twisted, all our fates ripped away. And I remember none of it. Awry is the first book in the Conduit Series, which is a secondary-world urban fantasy romance. Content warnings and tropes/themes can be found at the beginning of the book or on the author’s website.
Dr. Mark Valentine, once a highly-respected Atlanta plastic surgeon, struggles to overcome alcoholism so that he can get his license to practice medicine reinstated. His life takes a turn for the worse when he is abducted at gunpoint from the Emergency Room at Charity, where he works on a limited institutional license, and flown to a location hundreds of miles away. Subsequent events lead to him being pursued by a Jesus Dimaria, a vicious Mafia hit man. Mark manages to stay one step ahead of Jesus as he tries to identify Charity’s serial killer in order to save the life of Dr. Ed Billingsworth, the only person with the power to help him get his license back.
Laughing Awry offers a comprehensive overview of key themes in the interpretation of the plays of Plautus, and explores the connections between deception, desire, slavery, genre, and audience. In doing so, it offers an account of the mechanisms of Plautus' humour and the uncomfortable origins of laughter, revealing how his dramas do not just play to but also work on the audience. The volume examines the whole corpus of Plautine plays, providing longer accounts of selected dramas and choice scenes. An emphasis on methodological and theoretical questions is maintained throughout, and particular attention is paid to the psychic life of humour and its relationship to questions of social power. Chapters discuss, among other topics, the problem of writing about humour, Plautus' reception by subsequent Roman authors, the plays' embedded social theory, the intersection of circuits of desire, laughter as a scandalous surfeit, and the sublime perversity of laughter. The volume asks what we are laughing at, why we laugh, and what this laughter means.
The Fifth in the Romance Series featuring African American Couples Spring and Bilal Part 2 of 2 Spring's personal life has never gone according to plan. Certainly so when it came to Bilal. She didn't plan to be more than friends with him. She didn't plan to fall in love with him. She didn't plan to find out she was pregnant after he'd broken her heart. She certainly didn't plan to forgive him (for now) and take him back afterward with the promise of starting over and taking things slow. So much for taking things slow though when due to circumstances out both their control, Bilal ends up temporarily staying with Spring and she starts to wonder just how "slow" Bilal really wants to take things when he seems to be making permanent plans for them that go beyond fixing up a space for the baby. But heartwarming as all that is, Spring can't get him to tell her why he won't tell his family that she's pregnant or why he still refuses to go public about their relationship at all. And rather than planning a happily ever after, Spring feels like if she can't get him to be honest about all that and why he broke up with her the first time, they're doomed for another more permanent breakup instead.
"Bombs awry" by George O. Smith. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
In his first book, Listening Subjects, David Schwarz succeeded in fusing post-Lacanian psychoanalytic, musical-theoretical, and musical-historical perspectives. In Listening Awry, he expands his project to “tell a story of historical modernism writ large”—how German music spanning two centuries refracts changes in society and culture, as well as the impacts of concepts introduced by psychoanalysis. Schwarz shows how post-Lacanian psychoanalysis can be applied to ideological interpellation that connects psychoanalysis to culture and how music theory can ground these considerations in precise details of musical textuality. He “listens awry” in several ways: by understanding musical meaning in both objective and socially structured ways, by embracing historical and also aesthetic approaches, by addressing high art as well as popular music, and by listening “around” conventional forms of musical meaning to reach toward that which evades signification. Structured around four themes—trauma, the other/Other, the look/gaze binary, and Judaism—Listening Awry explores five key moments in post-Enlightenment music: the rise of the singular orchestral conductor and the emergence of a new form of alterity, the Art Song and “the sublime of the delicate” (a correlate of the Kantian mathematical and dynamical sublime), the birth of psychoanalysis and the twentieth-century turn toward atonality, German war songs and the subversion of German music by the Nazis, and two different versions of Wagner’s Parsifal that were performed one hundred years apart and in radically different contexts. This highly original work, filled with imaginative readings and disquieting observations, links trauma with the culture and history of modernity and German music, deftly tying the experience of the body to the sounds it hears: how it reaches us slowly, penetrates the skin, and resonates. David Schwarz is assistant professor of music at the University of North Texas. He is the author of Listening Subjects: Music, Psychoanalysis, Culture.
NDN word warrior Marie Annharte Baker's fourth book of poems, Indigena Awry, is her largest and wildest yet. It collects a decade's worth of verse — fifty-nine poems. Set noticeably in Winnipeg and Vancouver, but in many other places on either side of the Medicine Line as well, the poems are a laser-eyed meander through contested streets filled with racism, classism, and sexism. Shot through with sex and violence and struggle and sadness and trauma, her work is always set to detect and confront the delusions of colonialism and its discontents. These poems are informed by a sceptical spirituality. They call for justice for NDNs through the Permanent Resistance that goes around in cities. This is bruising and exacting stuff, but Annharte is also one of poetry's best jokers. In Indigena Awry, you can find fictitious girl gangs coexisting with real boy ones. NDN grannies may be found flirting salaciously in some internet chat room. One might use duct tape to prevent a war. You might be worried that hand-signalling for a Timbit on an airplane flight will be considered a terrorist act. Annharte may be seam-walking a singular path but she is not without allies. In the United States, they could include Leslie Marmon Silko and Chrystos. In Canada, Beth Brant and Gerry Gilbert. The jazz inflections of Beat writing are often apparent in her work. She swings from a poetic madness into a mad poetics. Way under it all, acting as a deep sort of platform, could be considered the Kenyan writer Ngugi wa Thiong'o's project of decolonizing one's mind. Both sketch out an argument that we will not see, feel, or respond correctly in or to our own lives without doing this, because otherwise we will be living within a philosophical myopia generated by a bad fiction. While Indigena Awry is written for NDN persons, it is highly recommended for truth-seekers of every nature and anarchs of word and spirit. In an Annharte poem you might lose your way only to find what's important.
Ever wonder what Trump will put in his letter to his successor? Are you ready for the New Pledge of Allegiance? Did God put Trump in office? Is Democracy dead? With a mix of humor and some facts, this collection looks at the last few years and the political upheaval our nation has faced. The intention is to make you laugh, possibly weep, and hopefully think.