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Blast Counterblast is a multifaceted, fascinating examination of the way intellectuals interact--through influence, through argumentation, and through criticism. Looking at both Wyndham Lewis's modernist publication BLAST and Marshall McLuhan's 1969 response to it, COUNTERBLAST, the contributors to this volume--a selection of writers, visual artists, performers, and filmmakers--skewer relational aesthetics and identity politics in order to restate what the role of identity formation is today. Taking McLuhan and Lewis as starting points, the essays in this volume develop and push the ideas presented in both BLAST and COUNTERBLAST while the book design pays homage to both thinkers' experiments in typography. Blast Counterblast includes the writings of Maria Fusco, Michael Hoolboom, My Barbarian, Lane Relyea, and Ryan Trecartin.
BLAST at 100 makes an original contribution to the understanding of a major modernist magazine. Providing new critical readings that consider the magazine’s influence within contexts that have not been acknowledged before – in the development of Irish and Spanish literature and culture in the twentieth century, for example, as well as in the areas of cultural studies, performance studies and the scholarship of teaching and learning – BLAST at 100 reconsiders the magazine’s complex legacy. In addition to situating the magazine in new and often unexpected contexts, BLAST at 100 also offers important new insights into the work of some of its most significant contributors, including Wyndham Lewis, Ezra Pound, and Rebecca West. Contributors are: Philip Coleman, Simon Cutts, Andrzej Gąsiorek, Angela Griffith, Nicholas E. Johnson, Kathryn Laing, Christopher Lewis, J.C.C. Mays, Kathryn Milligan, Yolanda Morató, Nathan O’Donnell, Alex Runchman, Colm Summers, Tom Walker
King James I's A Counter Blast to Tobacco was written in 1604 and stands as one of the earliest anti-tobacco publications ever written. In the treatise, James blames Native Americans for introducing tobacco to Europe, warns readers of the danger tobacco poses to the lungs, and complains about passive smoking. Demonology, written by the king in 1597, takes aim at witches in early modern England.
"Seymour's obsessively researched, impressive first book holds its place as the most authoritative historical analysis of its kind."—Resurgence All empires spin self-serving myths, and in the United States the most potent of these is that America is a force for democracy around the world. Yet there is a tradition of American anti-imperialism which gives the lie to this mythology. Richard Seymour examines this complex relationship from the Revolution to the present-day. Richard Seymour is a socialist writer and runs the blog Lenin's Tomb. He is the author of The Liberal Defense of Murder. His articles have appeared in the Guardian and New Statesman.
An optimistic assessment of the prospects for a new international order - acting as a counter-blast to global pessimism. The text explains how the international system operates, the pressures it faces and the changes it must undergo, and offers concrete ideas to re-frame international relations, foreign aid and humanitarian intervention, without using jargon or simplistic judgements.
Uncovers African influences on the Western imagination during the eighteenth century, paying particular attention to the ways Ethiopia inspired and shaped the work of Samuel Johnson.
Situating the intellectual inheritance of Canadian Vorticists in a multidisciplinary assemblage of authors and artists.
On the one hand, Eagleton demolishes what he calls the "superstitious" view of God held by most atheists and agnostics and offers in its place a revolutionary account of the Christian Gospel. On the other hand, he launches a stinging assault on the betrayal of this revolution by institutional Christianity. There is little joy here, then, either for the anti-God brigade -- Richard Dawkins and Christopher Hitchens in particular -- nor for many conventional believers. --Résumé de l'éditeur.
Demonstrates how McLuhan extended insights derived from advances in physics and artistic experimentation into a theory of acoustic space which he then used to challenge the assumptions of visual space that had been produced through print culture.