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The specter of the apocalypse has always been a semiotic fantasy: only at the end of all things will their true meaning be revealed. Our long romance with catastrophe is inseparable from the Western hermeneutical tradition: our search for an elusive truth, one that can only be uncovered through the interminable work of interpretation. Catastrophe terrifies and tantalizes to the extent it promises an end to this task. 9/11 is this book’s beginning, but not its end. Here, it seemed, was the apocalypse America had long been waiting for; until it became just another event. And, indeed, the real lesson of 9/11 may be that catastrophe is the purest form of the event. From the poetry of classical Greece to the popular culture of contemporary America, The End of Meaning seeks to demonstrate that catastrophe, precisely as the notion of the sui generis, has always been generic. This is not a book on the great catastrophes of the West; it offers no canon of catastrophe, no history of the catastrophic. The End of Meaning asks, instead, what if meaning itself is a catastrophe?
This is a collection of essays focusing on conventions of change in the arts, philosophy, and literature.
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This volume fulfills the author's career-long reflections on radical otherness in literature. J. Hillis Miller investigates otherness through ten nineteenth- and twentieth-century authors: Friedrich Schlegel, Charles Dickens, George Eliot, Anthony Trollope, Joseph Conrad, W. B. Yeats, E. M. Forster, Marcel Proust, Paul de Man, and Jacques Derrida. From the exquisite close readings for which he is celebrated, Miller reaps a capacious understanding of otherness--one reachable not through theory but through literature itself. Otherness has wide valence in contemporary literary and cultural studies and is often understood as a misconception by hegemonic groups of subaltern ones. In a pleasing counter to this, Others conceives of otherness as something that inhabits sameness. Instances of the ''wholly other'' within the familiar include your sense of self or your beloved, your sense of your culture as such, or your experience of literary, theoretical, and philosophical works that belong to your own culture--works that are themselves haunted by otherness. Though Others begins and ends with chapters on theorists, the testimony they offer about otherness is not taken as more compelling than that of such literary works as Dicken's Our Mutual Friend, Conrad's ''The Secret Sharer,'' Yeats's ''Cold Heaven,'' or Proust's Remembrance of Things Past. Otherness, as this book finds it in the writers read, is not an abstract concept. It is an elusive feature of specific verbal constructs, different in each case. It can be glimpsed only through close readings that respect this diversity, as the plural in the title--Others--indicates. We perceive otherness in the way that the unseen--and the characters' emotional responses to it--ripples the conservative ideological surface of Howard's End. We sense it as chaos in Schlegel's radical concept of irony. And we gaze at it in the multiple personifications of Heart of Darkness. Each testifies in its own way to the richness and tangible weight of an otherness close at hand.
A unique anthology devoted to a single story–“Signs and Symbols” by Vladimir Nabokov–which exposes the way we read and interpret short stories.
The Red Book is nothing less than a spiritual fire starter -- a combustible cocktail of Hindu Tantra and Zen Buddhism, Rumi and Carl Jung, goddesses and psychics, shaken with cosmic nudges, meaningful subway rides, haircuts, relationships, sex, dreams, and intuition. Author Sera Beak's unique hybrid perspective, hilarious personal anecdotes, and invaluable exercises encourage her readers to live more consciously so they can start making clearer choices across the board, from careers to relationships, politics to pop culture and everything in between. For smart, gutsy, spiritually curious women whose colorful and complicated lives aren’t reflected in most spirituality books, The Red Book is an open invitation to find your true self and start sharing that delicious truth with the world.
The signs and signals of criminal communication How do criminals communicate with each other? Unlike the rest of us, people planning crimes can't freely advertise their goods and services, nor can they rely on formal institutions to settle disputes and certify quality. They face uniquely intense dilemmas as they grapple with the basic problems of whom to trust, how to make themselves trusted, and how to handle information without being detected by rivals or police. In this book, one of the world's leading scholars of the mafia ranges from ancient Rome to the gangs of modern Japan, from the prisons of Western countries to terrorist and pedophile rings, to explain how despite these constraints, many criminals successfully stay in business. Diego Gambetta shows that as villains balance the lure of criminal reward against the fear of dire punishment, they are inspired to unexpected feats of subtlety and ingenuity in communication. He uncovers the logic of the often bizarre ways in which inveterate and occasional criminals solve their dilemmas, such as why the tattoos and scars etched on a criminal's body function as lines on a professional résumé, why inmates resort to violence to establish their position in the prison pecking order, and why mobsters are partial to nicknames and imitate the behavior they see in mafia movies. Even deliberate self-harm and the disclosure of their crimes are strategically employed by criminals to convey important messages. By deciphering how criminals signal to each other in a lawless universe, this gruesomely entertaining and incisive book provides a quantum leap in our ability to make sense of their actions.