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In Unsettling Absences, Eric Thompson argues that urbanism is a cultural force unbound from the city and is a pervasive presence in the Malaysian countryside. Transported to rural communities, urbanism has motivated migration, transformed the social lives of rural inhabitants, and created a deep ambivalence about personal identity. This has left rural Malays feeling out of place in both the city and the village. Kuala Lumpur epitomises modernity, but rural Malays who move there are often marginalised in squatter settlements on its periphery. The kampung symbolises home and the locus of Malay identity, but schoolbooks and television have projected urbanism that marks rural life as backwards and marginal in a forward-looking nation into the kampung. The book challenges city-bound urban studies by locating urbanism in a wider world that extends outside of the city, and shows the conflicted realities of rural dwellers in an overwhelmingly urban world. As others have challenged the meaning of "modernity", Thompson challenges the meaning of "urban" while still recognising the powerful effects of an ideology of "urbanism". Unsettling Absences is a call to take seriously place-based identities and cultural geographies in a world where the urban/rural divide is dissolving in practice but in cultural terms remains as powerful as ever.
It’s Silence, Soundly, It’s Nothing, Seriously and It’s Absence, Presently, continue The ‘It’ Series published by Matador since The Book of It (2010). They constitute another stage in an artistic journey exploring the visual and audial dialectic of mark, word and image that began over 25 years ago. In their aesthetic form the books are a decentred trilogy united together in a new concept of The Bibliograph. All three present this new aesthetic object, which transcends the narrow limits of the academic bibliography. The alphabetical works also share a tripartite structure and identical length. The Bibliograph itself is characterised by its strategic place within each book as a whole as well as by the complex variations in meaning of the dominant motifs – nothing/ness, absence and silence – which recur throughout the alphabetical entries that constitute the elements of each text. It’s Nothing, Seriously, for example, addresses the amusing paradox that so much continues to be written today about – nothing! The aleatory character of the entries in the texts encourage the modern reader to reflect on each theme and to read them in a new way. The reader is invited as well to examine their various inter-textual relations across given conventional boundaries in the arts and sciences at several levels of physical, psychical & social reproduction.
Pursuing Intersectionality, Unsettling Dominant Imaginaries offers a sustained, interdisciplinary exploration of intersectional ideas, histories, and practices that no other text does. Deftly synthesizing much of the existing literatures on intersectionality, one of the most significant theoretical and political precepts of our time, May invites us to confront a disconcerting problem: though intersectionality is widely known, acclaimed, and applied, it is often construed in ways that depoliticize, undercut, or even violate its most basic premises. May cogently demonstrates how intersectionality has been repeatedly resisted, misunderstood, and misapplied: provocatively, she shows the degree to which intersectionality is often undone or undermined by supporters and critics alike. A clarion call to engage intersectionality’s radical ideas, histories, and justice orientations more meaningfully, Pursuing Intersectionality answers the basic questions surrounding intersectionality, attends to its historical roots in Black feminist theory and politics, and offers insights and strategies from across the disciplines for bracketing dominant logics and for orienting toward intersectional dispositions and practices.
A groundbreaking synthesis of food studies, archival theory, and early American literature There is no eating in the archive. This is not only a practical admonition to any would-be researcher but also a methodological challenge, in that there is no eating—or, at least, no food—preserved among the printed records of the early United States. Synthesizing a range of textual artifacts with accounts (both real and imagined) of foods harvested, dishes prepared, and meals consumed, An Archive of Taste reveals how a focus on eating allows us to rethink the nature and significance of aesthetics in early America, as well as of its archive. Lauren F. Klein considers eating and early American aesthetics together, reframing the philosophical work of food and its meaning for the people who prepare, serve, and consume it. She tells the story of how eating emerged as an aesthetic activity over the course of the eighteenth century and how it subsequently transformed into a means of expressing both allegiance and resistance to the dominant Enlightenment worldview. Klein offers richly layered accounts of the enslaved men and women who cooked the meals of the nation’s founders and, in doing so, directly affected the development of our national culture—from Thomas Jefferson’s emancipation agreement with his enslaved chef to Malinda Russell’s Domestic Cookbook, the first African American–authored culinary text. The first book to examine the gustatory origins of aesthetic taste in early American literature, An Archive of Taste shows how thinking about eating can help to tell new stories about the range of people who worked to establish a cultural foundation for the United States.
A key figure in the ongoing legacy of modern cinema, David Lynch designs environments for spectators, transporting them to inner worlds built by mood, texture, and uneasy artifice. We enter these famously cinematic interiors to be wrapped in plastic, the fundamental substance of Lynch’s work. This volume revels in the weird dynamism of Lynch’s plastic worlds. Exploring the range of modern design idioms that inform Lynch’s films and signature mise-en-scène, Justus Nieland argues that plastic is at once a key architectural and interior design dynamic in Lynch’s films, an uncertain way of feeling essential to Lynch’s art, and the prime matter of Lynch’s strange picture of the human organism. Nieland’s study offers striking new readings of Lynch’s major works (Eraserhead, Blue Velvet, Wild at Heart, Mulholland Dr., Inland Empire) and his early experimental films, placing Lynch’s experimentalism within the aesthetic traditions of modernism and the avant-garde; the genres of melodrama, film noir, and art cinema; architecture and design history; and contemporary debates about cinematic ontology in the wake of the digital. This inventive study argues that Lynch’s plastic concept of life--supplemented by technology, media, and sensuous networks of an electric world--is more alive today than ever.
This book brings together researchers from different fields, traditions and perspectives to examine the ways in which place and space might (be) unsettle(d). Researchers from across the humanities and social sciences have been drawn to the study of place and space since the 1970s, and the term ‘unsettled’ has been an occasional but recurring presence in this body of scholarship. Though it has been used to invoke a range of meanings, from the dangerous to the liberating, the term itself has rarely been at the centre of sustained examination. This collection highlights the idea of the unsettled in the scholarly investigation of place and space. The respective chapters offer a dialogue between a diverse and eclectic group of researchers, crossing significant disciplinary and interdisciplinary boundaries in the process. The purpose of the collection is to juxtapose a range of different approaches to, and perspectives on, the unsettling of place and space. In doing so, Interdisciplinary Unsettlings of Place and Space makes an important contribution and offers new insights into how scholarship and research into different fields and practices may help us re-envision place and space.
The terrorist attacks on the twin towers of the World Trade Center on September 11th, 2001 have had a profound impact on contemporary American literature and culture. With chapters written by leading scholars, 9/11: Topics in Contemporary North American Literature is a wide-ranging guide to literary responses to the attacks and its aftermath. The book covers the most widely studied texts, from Don DeLillo's Falling Man, Jonathan Safran Foer's Extremely Loud and Incredibly Close and Jonathan Franzen's Freedom to responses in contemporary American poetry and graphic narratives such as Art Spiegelman's In the Shadow of No Towers. Including annotated guides to further reading, this is an essential guide for students and readers of contemporary American literature.
“I think I did something. Something someone really bad was counting on me to do. And I think you helped me.” Ray-Anne Blair isn’t buying it. She just wants Paul Reid to forget about the imaginary place he says he needs to return to—and to stop calling her Rain. Everyone wants something. Jeremy Johns wants to do well at his job, but the new office is strange. So is his boss, Mr. Truitt. Annie Brucker wants to understand how she ended up back with her abusive ex. Zach, her son, wants to know if he should trust whatever it is that speaks to him from the darkness of his closet—something so heavy it makes the floorboards creak. Jonas Porter, Audra Farrelly, Po the silent monk, and Charlene Moseley want to know why their colleagues and prospective Journeymen have disappeared, though the answer might spell the end of all existence. Welcome to The Margins, a place that shouldn’t be—but is, thanks to Paul and his friends. They thought they’d won. But they played right into the hands of an evil that anticipated their heroic act. Now realms are crossing over, the universe is collapsing, and it’s up to those who created the danger to neutralize it. No one said it would be easy. No one’s sure it’s even possible. But this is where the difficult and the impossible abound. This is The Commons.
Cultural criminology has now emerged as a distinct theoretical perspective, and as a notable intellectual alternative to certain aspects of contemporary criminology. Cultural criminology attempts to theorize the interplay of cultural processes, media practices, and crime; the emotional and embodied dimensions of crime and victimization; the particular characteristics of crime within late modern/late capitalist culture; and the role of criminology itself in constructing the reality of crime. In this sense cultural criminology not only offers innovative theoretical models for making sense of crime, criminality, and crime control, but presents as well a critical theory of criminology as a field of study. This collection is designed to highlight each of these dimensions of cultural criminology - its theoretical foundations, its current theoretical trajectories, and its broader theoretical critiques-by presenting the best of cultural criminological work from the United States, Europe, Australia, and elsewhere.
"Scenes of intense action and fantastical creativity make Peck an author to watch." — Publishers Weekly Winner: Illinois Library Association's Soon to be Famous Illinois Author Project (The Journeyman) Enjoy books one to three of the Commons series in one omnibus. "Paul Reid died in the snow at seventeen. The day of his death, he told a lie—and for the rest of his life, he wondered if that was what killed him." And so begins the battle for the afterlife, known as The Commons. It's been taken over by a corporate raider who uses the energy of its souls to maintain his brutal control. The result is an imaginary landscape of a broken America—stuck in time and overrun by the heroes, monsters, dreams, and nightmares of the imprisoned dead. Three people board a bus to nowhere: a New York street kid, an Iraq War veteran, and her five-year-old special-needs son. After a horrific accident, they are the last, best hope for The Commons to free itself. Along for the ride are a shotgun-toting goth girl, a six-foot-six mummy, a mute Shaolin monk with anger-management issues, and the only guide left to lead them. Three Journeys: separate but joined. One mission: to save forever. But first they have to save themselves.