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Social anxiety about poverty surfaces with startling frequency in American literature. Yet, as Gavin Jones argues, poverty has been denied its due as a critical and ideological framework in its own right, despite recent interest in representations of the lower classes and the marginalized. These insights lay the groundwork for American Hungers, in which Jones uncovers a complex and controversial discourse on the poor that stretches from the antebellum era through the Depression. Reading writers such as Herman Melville, Theodore Dreiser, Edith Wharton, James Agee, and Richard Wright in their historical contexts, Jones explores why they succeeded where literary critics have fallen short. These authors acknowledged a poverty that was as aesthetically and culturally significant as it was socially and materially real. They confronted the ideological dilemmas of approaching poverty while giving language to the marginalized poor--the beggars, tramps, sharecroppers, and factory workers who form a persistent segment of American society. Far from peripheral, poverty emerges at the center of national debates about social justice, citizenship, and minority identity. And literature becomes a crucial tool to understand an economic and cultural condition that is at once urgent and elusive because it cuts across the categories of race, gender, and class by which we conventionally understand social difference. Combining social theory with literary analysis, American Hungers masterfully brings poverty into the mainstream critical idiom.
Contains nearly 32,500 entries that provide a bibliography of interpretations that have appeared since 1900 of short stories published since 1800.
A collection of critical essays on Kate Chopin's work.
No other American book was so maligned, neglected for so long, and then embraced so quickly and with such enthusiasm as Kate Chopin's 1899 novel, The Awakening. For the twelve scholars, whose essays make up this collection, reading the novel was a life-changing event. Awakenings explains how, as graduate students and young college instructors, they carried out some of the basic research, thought through some of the critical approaches, and developed some of the present directions for reading, studying, and teaching Kate Chopin, a foundation narrative that focuses on what happened a generation ago and why.
YOU CHOOSE is an (anti)-choose-your-own-adventure. You choose: You hear a scream (or not), and what do you do about it. Nothing or stay in your chair and figure out the who what when why or go out the front door and chase the scream to prevent it or create it or capture it. Within the book are choices and non-choices, choices masquerading as choices, labyrinths, your torture and your self-torture, your authorship, multiple worlds, you becoming someone else, another you, you becoming a series of animals, you becoming us, you becoming death, your repeated death, pizza, your mother, inner ear workings, and other tailings or tails or tales. YOU CHOOSE is literary, speculative, uncertain, an attempt at the universal and many worlds, surreal, magically realistic, immersive, and labyrinthine. YOU CHOOSE is published under a CC BY-NC-SA 4.0 License.
Although she enjoyed only modest success during her lifetime, Kate Chopin is now recognised as a unique voice in American literature. Her seminal novel, The Awakening, published in 1899, explored new and startling territory, and stunned readers with its frank depiction of the limits of marriage and motherhood. Chopin's aesthetic tastes and cultural influences were drawn from both the European and American traditions, and her manipulation of her 'foreignness' contributed to the composition of a complex voice that was strikingly different to that of her contemporaries. The essays in this Companion treat a wide range of Chopin's stories and novels, drawing her relationship with other writers, genres and literary developments, and pay close attention to the transatlantic dimension of her work. The result is a collection that brings a fresh perspective to Chopin's writing, one that will appeal to researchers and students of American, nineteenth-century, and feminist literature.
While neither Kate Chopin nor Edith Wharton can be called feminist writers, each did produce female moral art, writings that focus relentlessly on the dialectics of social relations and the position of women therein. Mary Papke analyzes their disintegrative visions through detailed readings of virtually all of their novels and several of their shorter works. Papke begins with a brief examination of the ideology of true womanhood, which, she argues, permeates Chopin's and Wharton's fiction and world views. The remainder of her work offers an ideological reading of their social fiction in which their characters search for states of liminality, where they might achieve, however momentarily, autonomy. The author presents Chopin's and Wharton's female discourse as radical art because it dares to defy that which is both alienating and destructive. -- From product description.
In Mapping the Moving Image, Pasi Valiaho offers a compelling study of how the medium of film came to shape our experience and thinking of the world and ourselves. By locating the moving image in new ways of seeing and saying as manifest in the arts, science and philosophy at the turn of the twentieth century, the book redefines the cinema as one of the most important anthropological processes of modernity. Moving beyond the typical understanding of cinema based on optical and linguistic models, Mapping the Moving Image takes the notion of rhythm as its cue in conceptualizing the medium's morphogenetic potentialities to generate affectivity, behaviour, and logics of sense. It provides a clear picture of how the forms of early film, while mobilizing bodily gestures and demanding intimate, affective engagement from the viewer, emerged in relation to bio-political investments in the body. The book also charts from a fresh perspective how the new gestural dynamics and visuality of the moving image fed into our thinking of time, memory and the unconscious.
In contemporary psychoanalysis, a key concept and aim of clinical practice is to distinguish the boundaries of any mental state. Without this boundary-setting, the patient has nothing but the 'formless infinite' of primitive mental states. Formless Infinity: Clinical Explorations of Matte Blanco and Bion draws on the work of these two authors to explore how analysts can work with patients to reveal, understand and ultimately contain their primitive mental states. Riccardo Lombardi discusses the core concepts of the unconscious, the role of the body in analysis, time and death. He displays the clinical implications of Matte Blanco’s theoretical extension of Freud’s theory of the unconscious, presenting numerous clinical examples of working with psychosis and other severe pathologies. Formless Infinity, a stimulating teaching text for students, trainers and seasoned mental health practitioners, is essential reading for psychoanalysts and psychoanalytic psychotherapists. It is particularly recommended to analysts interested in widening the scope of the analytic practice by exploring the functioning of the deep unconscious, primitive mental states, psychosomatic pathologies and psychotic conditions.