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A missing daughter, her distraught mother.A foreign country. A history of deceit.When Dee's daughter, Corrie, decides to spend her gap year in Argentina, it seems like the perfect solution to their strained relationship. That is, until Corrie goes missing. Facing every mother's worst nightmare, Dee boards a plane from Australia to launch a frantic search. Four years later, Dee returns to Buenos Aires for what she concedes may be the last time. But on this visit, a fresh lead triggers a new search – one where Dee must place her trust in strangers to help her navigate the vibrant but often threatening city.Dee's search for Corrie is overshadowed by the fear that her failings as a mother may have had something to do with Corrie's disappearance. To what extent is Dee to blame? And is this a question that she will ever be able to answer?Traces of Absence is a stirring and thoughtful portrayal of parenthood, guilt, faith and hope. And of the redemptive power of simple human kindness.
A missing daughter, her distraught mother. A foreign country. A history of deceit. When Dee's daughter, Corrie, decides to spend her gap year in Argentina, it seems like the perfect solution to their strained relationship. That is, until Corrie goes missing. Facing every mother's worst nightmare, Dee boards a plane from Australia to launch a frantic search. Four years later, Dee returns to Buenos Aires for what she concedes may be the last time. But on this visit, a fresh lead triggers a new search - one where Dee must place her trust in strangers to help her navigate the vibrant but often threatening city. Dee's search for Corrie is overshadowed by the fear that her failings as a mother may have had something to do with Corrie's disappearance. To what extent is Dee to blame? And is this a question that she will ever be able to answer? Traces of Absence is a stirring and thoughtful portrayal of parenthood, guilt, faith and hope. And of the redemptive power of simple human kindness.
The first major English-language study of a legendary dancer
As the Triune God created the world, so creation bears the signs of its Creator. This evocative book by an influential Christian thinker explores the pattern of mutual indwelling that characterizes the creation at every level. Traces of the Trinity appear in myriad ways in everyday life, from our relations with the world and our relationships with others to sexuality, time, language, music, ethics, and logic. This small book with a big idea--the Trinity as the Christian theory of everything--changes the way we view and think about the world and places demands on the way we live together in community.
Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction. Author Timothy Holland interweaves historical and speculative modes of research and writing to articulate the peripheral-yet surprisingly crucial-place of the cinematic medium for Derrida and his philosophical enterprise. The outcome is a meticulously detailed survey of the centers and margins of Derrida's oeuvre that include forays into such terrain as: his notable appearances in films; an unrealized project on cinema and belief that Derrida proposed in a 2001 interview; the correspondences between the strategies of deconstruction and the traditions, homecomings, and wordplay of David Lynch's cinematic media; and the questions wedded to the future of film studies amid the vicissitudes of the modern, virtual university. Ultimately, Holland pursues the thinking activated by the flickering of Derrida's cinema-not only the absence and presence of film in Derrida's professional and personal life, but also the rigor of academic discourse and the pleasures of the movies, ghosts and technology, religious faith and scientific knowledge, and ruination and survival-as a critical chance for reflection.
With a New Preface by the Author Through personal journeys and historical inquiry, this PEN Literary Award finalist explores how America’s still unfolding history and ideas of “race” have marked its people and the land. Sand and stone are Earth’s fragmented memory. Each of us, too, is a landscape inscribed by memory and loss. One life–defining lesson Lauret Savoy learned as a young girl was this: the American land did not hate. As an educator and Earth historian, she has tracked the continent’s past from the relics of deep time; but the paths of ancestors toward her—paths of free and enslaved Africans, colonists from Europe, and peoples indigenous to this land—lie largely eroded and lost. A provocative and powerful mosaic that ranges across a continent and across time, from twisted terrain within the San Andreas Fault zone to a South Carolina plantation, from national parks to burial grounds, from “Indian Territory” and the U.S.–Mexico Border to the U.S. capital, Trace grapples with a searing national history to reveal the often unvoiced presence of the past. In distinctive and illuminating prose that is attentive to the rhythms of language and landscapes, she weaves together human stories of migration, silence, and displacement, as epic as the continent they survey, with uplifted mountains, braided streams, and eroded canyons. Gifted with this manifold vision, and graced by a scientific and lyrical diligence, she delves through fragmented histories—natural, personal, cultural—to find shadowy outlines of other stories of place in America. "Every landscape is an accumulation," reads one epigraph. "Life must be lived amidst that which was made before." Courageously and masterfully, Lauret Savoy does so in this beautiful book: she lives there, making sense of this land and its troubled past, reconciling what it means to inhabit terrains of memory—and to be one.
In studying material culture, anthropologists and archaeologists use meaningful physical objects from a culture to help understand the less tangible aspects of that culture, such as societal structure, rituals, and values. What happens when these objects are destroyed, by war, natural disaster, or other historical events? Through detailed explanations of eleven international case studies, the contributions reveal that the absence of objects can be just as telling as their presence, while the objects created to memorialize a loss also have important cultural implications. Covering everything from organ donation, to funerary rituals, to prisoners of war, The Archaeology of Absence is written at an important intersection of archaeological and anthropological study. Divided into three sections, this volume uses the "presence" of absence to compare cultural perceptions of: material qualities and created memory, the mind/body connection, temporality, and death. This rich text provides a strong theoretical framework for anthropologists and archaeologists studying material culture.
Winner of the 2022 Charles Rufus Morey Award from the College Art Association Guided by Aristotelian theories, medieval philosophers believed that nature abhors a vacuum. Medieval art, according to modern scholars, abhors the same. The notion of horror vacui—the fear of empty space—is thus often construed as a definitive feature of Gothic material culture. In The Absent Image, Elina Gertsman argues that Gothic art, in its attempts to grapple with the unrepresentability of the invisible, actively engages emptiness, voids, gaps, holes, and erasures. Exploring complex conversations among medieval philosophy, physics, mathematics, piety, and image-making, Gertsman considers the concept of nothingness in concert with the imaginary, revealing profoundly inventive approaches to emptiness in late medieval visual culture, from ingenious images of the world’s creation ex nihilo to figurations of absence as a replacement for the invisible forces of conception and death. Innovative and challenging, this book will find its primary audience with students and scholars of art, religion, physics, philosophy, and mathematics. It will be particularly welcomed by those interested in phenomenological and cross-disciplinary approaches to the visual culture of the later Middle Ages.
This collection consists of eight essays that examine the way narratives determine our understanding of old age and condition how the experience is lived. Contributors to this volume have based their analysis on the concept of »narrative identity« developed by Paul Ricoeur, built upon the idea that fiction makes life, and on his definition of »trace« as the mark of time. By investigating the traces of aging imprinted in a series of literary and filmic works they dismantle the narrative of old age as decline and foreclosure to assemble one of transformation and growth.
For more than forty years Jacques Derrida has attempted to unsettle and disturb the presumptions underlying many of our most fundamental philosophical, political, and ethical conventions. In The Philosophy of Derrida, Mark Dooley examines Derrida's large body of work to provide an overview of his core philosophical ideas and a balanced appraisal of their lasting impact. One of the author's primary aims is to make accessible Derrida's writings by discussing them in a vernacular that renders them less opaque and nebulous. Derrida's unusual writing style, which mixes literary and philosophical vocabularies, is shown to have hindered their interpretation and translation. Dooley situates Derrida squarely in the tradition of historicist, hermeneutic and linguistic thought, and Derrida's objectives and those of "deconstruction" are rendered considerably more convincing. While Derrida's works are ostensibly diverse, Dooley reveals an underlying cohesion to his writings. From his early work on Husserl, Hegel and de Saussure, to his most recent writings on justice, hospitality and cosmopolitanism, Derrida is shown to have been grappling with the vexed question of national, cultural and personal identity and asking to what extent the notion of a "pure" identity has any real efficacy. Viewed from this perspective Derrida appears less as a wanton iconoclast, for whom deconstruction equals destruction, but as a sincere and sensitive writer who encourages us to shed light on out historical constructions so as to reveal that there is much about ourselves that we do not know.