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In her powerful debut collection of poetry, Arielle Twist unravels the complexities of human relationships after death and metamorphosis. In these spare yet powerful poems, she explores, with both rage and tenderness, the parameters of grief, trauma, displacement, and identity. Weaving together a past made murky by uncertainty and a present which exists in multitudes, Arielle Twist poetically navigates through what it means to be an Indigenous trans woman, discovering the possibilities of a hopeful future and a transcendent, beautiful path to regaining softness. This publication meets the EPUB Accessibility requirements and it also meets the Web Content Accessibility Guidelines (WCAG-AA). It is screen-reader friendly and is accessible to persons with disabilities. A Simple book with few images, which is defined with accessible structural markup. This book contains various accessibility features such as alternative text for images, table of contents, page-list, landmark, reading order and semantic structure.
A comprehensive account of cognitive scaffolding and its significance for understanding mental disorders. In Scaffolded Minds, Somogy Varga offers a novel account of cognitive scaffolding and its significance for understanding mental disorders. The book is part of the growing philosophical engagement with empirically informed philosophy of mind, which studies the interfaces between philosophy and cognitive science. Varga draws on two recent shifts within empirically informed philosophy of mind: the first, toward an intensified study of the embodied mind; and the second, toward a study of the disordered mind that acknowledges the convergence of the explanatory concerns of psychiatry and interdisciplinary inquiries into the mind. Varga sets out to accomplish a dual task: theoretical mapping of cognitive scaffolding; and the application/calibration of fine-grained philosophical distinctions to empirical research. He introduces the notion of actively scaffolded cognition (ASC) and offers a taxonomy that distinguishes between intrasomatic and extrasomatic scaffolding. He then shows that ASC offers a productive framework for considering certain characteristic features of mental disorders, focusing on altered bodily experience and social cognition deficits. With Cognitive Scaffolding, Varga aims to establish that shifting attention from mental symptoms to fine-grained sensorimotor aspects can lead to identifying diagnostic subtypes or even specific sensorimotor markers for early diagnosis.
This book summarizes the research and application of the Theory of Positive Disintegration, one of the most influential theories in gifted education, and compares it to other theories of personality and psychological development.
The African American population in the United States has always been seen as a single entity: a “Black America” with unified interests and needs. In his groundbreaking book, Disintegration, Pulitzer-Prize winning columnist Eugene Robinson argues that over decades of desegregation, affirmative action, and immigration, the concept of Black America has shattered. Instead of one black America, now there are four: • a Mainstream middle-class majority with a full ownership stake in American society; • a large, Abandoned minority with less hope of escaping poverty and dysfunction than at any time since Reconstruction’s crushing end; • a small Transcendent elite with such enormous wealth, power, and influence that even white folks have to genuflect; • and two newly Emergent groups—individuals of mixed-race heritage and communities of recent black immigrants—that make us wonder what “black” is even supposed to mean.
This book develops a theoretical and empirical argument about the disintegration of security communities, and the subsequent breakdown of stable peace among nations, through a process of norm degeneration. It draws together two key bodies of contemporary IR literature – norms and security communities – and brings their combined insights to bear on the empirical phenomenon of disintegration. The investigation of normative change in IR is becoming increasingly popular. Most studies, however, focus on its progressive connotation. The possibility of a weakening or even disappearance of an established peaceful normative order, by contrast, tends to be often either neglected or implicitly assumed. Normative Change and Security Community Disintegration: Undoing Peace advances the contemporary body of research on the important role of norms and ideas by analytically extending recent Constructivist arguments about international norm degeneration to the regional level and by applying them to a particular type of regional order – a security community.
Following his acclaimed history of the Situationist International up until the late sixties, The Beach Beneath the Street, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle. The Spectacle of Disintegration takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer. At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, The Spectacle of Disintegration recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first. The dustjacket unfolds to reveal a fold-out poster of the collaborative graphic essay combining text selected by McKenzie Wark with composition and drawings by Kevin C. Pyle.
Scholars have long been fascinated by the creative struggles with genre manifested throughout Dostoevsky’s career. In The Novel in the Age of Disintegration, Kate Holland brings historical context to bear, showing that Dostoevsky wanted to use the form of the novel as a means of depicting disintegration brought on by various crises in Russian society in the 1860s. This required him to reinvent the genre. At the same time he sought to infuse his novels with the capacity to inspire belief in social and spiritual reintegration, so he returned to some older conventions of a society that was already becoming outmoded. In thoughtful readings of Demons, The Adolescent, A Writer’s Diary, and The Brothers Karamazov, Holland delineates Dostoevsky’s struggle to adapt a genre to the reality of the present, with all its upheavals, while maintaining a utopian vision of Russia’s future mission.
Four writers, four different perspectives on the problematic notion of purity. "All purity is created by resemblance and disavowal." With this sentence as a starting point, four authors each write a novella considering the concept of purity, all from astonishingly different angles. Jean Marc Ah-Sen writes about love blooming between two writers belonging to feuding literary movements. Emily Anglin explores an architect's search for her twin at a rural historic house. Devon Code documents the Wittgensteinian upheavals of the last days of an elderly woman. And Lee Henderson imagines Dada artist Kurt Schwitters finding unlikely inspiration in a Second World War internment camp in northern Norway. Wildly different in style and subject matter, these four virtuoso pieces give us a 360-degree view of a philosophical theme that has never felt so urgent. “Despite the disparity of their subject matter – a Nazi-evading Dadaist detained in Norway, urban and familial estrangements, complicated love amid the avant-garde, the vicissitudes of old age – these brilliantly inventive, delightfully strange stories cling together like four unlikely soulmates, unified by art’s pursuit of coherence through life’s various disintegrations.” —Pasha Malla, author of Kill the Mall
After the 1911 fall of the Manchus came the most hideous breakdown in Chinese history. Sheridan, a Northwestern University scholar, concentrates on the Kuomintang movement of Chiang Kai-shek, insisting that we judge a political force by whether it solves the problems posed to it, not, as Chiang's partisans prefer, by means of what-if's. Sheridan's focus on the KMT brings more to light than do many surveys of Mao's revolutionaries. The KMT failed either to create an effective dictatorship or to mobilize fascist passions which could ensure willingness to "sacrifice." Thus the difficulty in squeezing enough wealth out of the peasantry to meet a foreign debt which totaled half the national revenue. The KMT did ensure that forced opium production took up at least a fifth of Chinese cropland by the 1929-1933 period, and they consolidated a soldier recruitment system that approximated Nazi roundups. However, the book underlines Chiang's failure to give the masses a ""Strength through Joy"" spirit; and, as wartime inflation of 300% gave way to postwar collapse, the anti-Communist pitch became emptier and emptier. The Kuomintang turned into a mere holding operation and faded into chaos. Sheridan gives a strong sense of the rapine of the warlords who were Chiang's off-and-on allies, and of the feeble heritage of Sun Yat-sen's patriotic platitudes. He leaves out explicit investigation of the international context while underlining, more than most writers, Chiang's commitment to repay external debt at the expense of the Chinese people. A sound and striking approach to these decades of desperation in the lives of a quarter of the human population—if not bypassed in the glut of "China books," it may encourage students and academics to go further. —Kirkus Reviews
From the earliest sound films to the present, American cinema has represented African Americans as decidedly musical. Disintegrating the Musical tracks and analyzes this history of musical representations of African Americans, from blacks and whites in blackface to black-cast musicals to jazz shorts, from sorrow songs to show tunes to bebop and beyond. Arthur Knight focuses on American film’s classic sound era, when Hollywood studios made eight all-black-cast musicals—a focus on Afro-America unparalleled in any other genre. It was during this same period that the first black film stars—Paul Robeson, Louis Armstrong, Lena Horne, Harry Belafonte, Dorothy Dandridge—emerged, not coincidentally, from the ranks of musical performers. That these films made so much of the connection between African Americans and musicality was somewhat ironic, Knight points out, because they did so in a form (song) and a genre (the musical) celebrating American social integration, community, and the marriage of opposites—even as the films themselves were segregated and played before even more strictly segregated audiences. Disintegrating the Musical covers territory both familiar—Show Boat, Stormy Weather, Porgy and Bess—and obscure—musical films by pioneer black director Oscar Micheaux, Lena Horne’s first film The Duke Is Tops, specialty numbers tucked into better-known features, and lost classics like the short Jammin’ the Blues. It considers the social and cultural contexts from which these films arose and how African American critics and audiences responded to them. Finally, Disintegrating the Musical shows how this history connects with the present practices of contemporary musical films like O Brother, Where Art Thou? and Bamboozled.