Fingarette-who thinks the best way to discover Confucius's teaching is by taking him at his word-uses original text as his principal resource in an effort to try to see what it says, what it implies and what it does not say or need not imply.

    It’s a dangerous job, but it has its moments: when a trio of ranger recruits stumble across a strange artifact, they begin to unravel a mystery with planet-spanning ramifications. The only problem is, if they’re going to uncover the truth, they have to survive the worst the forest can throw at them first.

    In the most complete, well-ordered philosophical system of his day, Xunzi advocated the counteraction of man's evil through self-improvement, the pursuit of learning, the avoidance of obsession, and observance of ritual in life. Readers familiar with Xunzi's work will find that Burton Watson's lucid translation breathes new life into this classic. Those new to Xunzi will find his ideas on government, language, and order and safety in society surprisingly close to concerns of our own age.

    Unsurprisingly, he ascended to the Heavens at a very young age. Now, eight hundred years later, Xie Lian ascends to the Heavens for the third time as the laughing stock of all three realms. On his first task as a god, he meets a mysterious demon who rules the ghosts and terrifies the Heavens……yet unbeknownst to Xie Lian, this demon king has been paying attention to him for a very, very long time. (-novelupdates.com)

    This time, Muir surveys 300 films from the 1980s. From backwards psychos (Just Before Dawn) and yuppie-baiting giant rats (Of Unknown Origin), to horror franchises like Friday the 13th and Hellraiser, as well as nearly forgotten obscurities such as The Children and The Boogens, Muir is our informative guide through 10 macabre years of silver screen terrors. Muir introduces the scope of the decade's horrors, and offers a history drawing parallels between current events and the nightmares unfolding on cinema screens. Each of the 300 films is discussed with detailed credits, a brief synopsis, a critical commentary, and where applicable, notes on the film's legacy beyond the 80s. Also included is the author's ranking of the 15 best horror films of the 80s.

    Under extreme pressure on a catastrophic location shoot, Universal's 27 year-old prodigy crafted a thriller so effective that for many years Jaws was the highest-grossing film of all time. It was also instrumental in establishing the concepts of the event movie and the summer blockbuster. Jaws exerts an extraordinary power over audiences. Apparently simplistic and manipulative, it is a film that has divided critics into two broad camps: those who dismiss it as infantile and sensational - and those who see the shark as freighted with complex political and psychosexual meaning. Antonia Quirke, in an impressionistic response, argues that both interpretations obscure the film's success simply as a work of art. In Jaws Spielberg's ability to blend genres combined with his precocious technical skill to create a genuine masterpiece, which is underrated by many, including its director. Indeed, Quirke claims, this may be Spielberg's finest work.

    But what if it actually is nothing more than ordinary matter purposely hidden from our view? What if we are only allowed to see a small fraction of the stars in our galaxy, because the vast majority of star systems are teeming with aliens who wish to remain unseen? Marc Zemin, a brilliant student of astrophysics, is the first human to ever stumble upon this startling secret, when his experiments with wormhole travel cause aliens to land on Earth and whisk him away into space. To his astonishment, the aliens want his help in fighting a colossal galactic war that is rapidly spiraling out of control. But as he struggles to survive from battle to battle across the farthest reaches of the galaxy, he begins to uncover a horrifying conspiracy at play, striving to keep the warring civilizations in continuous conflict with each other. A desperate race against time ensues, as he and a handful of newfound alien friends try to stop the war and confront this mysterious, powerful force bent on destroying all life in the galaxy. But any hope of their success surprisingly appears to hinge on just one thing - whether or not Marc has the strength to overcome his own demons and face the shattering truth about who he really is. "A sci-fi debut that shows great potential." - Kirkus Discoveries

    Powerful trends are converging to rapidly shift wealth and power to Asia-and, as acclaimed international trade expert Clyde Prestowitz shows, geopolitical clout will follow economic strength. Now we have to cope with the fallout. How will we deal with a world in which the dollar is no longer the dominant currency, the United States is no longer the dominant power, and people in Slovenia, Singapore, and Seattle are all competing for the same work on the same terms? Three Billion New Capitalists is a clear-eyed and profoundly unsettling look at America's and the world's economic future.

    In particular, political and media policing of female social and sexual autonomy, through the neglected but significant gendered dimensions of the discourse surrounding chavs, has been accompanied by a similar restriction and regulation of the expression of working-class femininity in music. This book traces the progress of this cultural clampdown over the past twenty years."

    Jay Slater explains how the myth of the Haitian walking dead (zombies) merged with legends of third-world cannibalism to create such gruesome zombie cult films as Cannibal Holocaust, an acknowledged influence on The Blair Witch Project.

    He studies Lynch's talent for blending the bizarre and the normal to emphasize the odd nature of normality itself. Hollywood is often criticized for distorting reality and providing escapist fantasies, but in Lynch's movies, fantasy becomes a means through which the viewer is encouraged to build a revolutionary relationship with the world.Considering the filmmaker's entire career, McGowan examines Lynch's play with fantasy and traces the political, cultural, and existential impact of his unique style. Each chapter discusses the idea of impossibility in one of Lynch's films, including the critically acclaimed Blue Velvet and The Elephant Man; the densely plotted Lost Highway and Mulholland Drive; the cult favorite Eraserhead; and the commercially unsuccessful Dune. McGowan engages with theorists from the "golden age" of film studies (Christian Metz, Laura Mulvey, and Jean-Louis Baudry) and with the thought of Sigmund Freud, Jacques Lacan, and Hegel. By using Lynch's weirdness as a point of departure, McGowan adds a new dimension to the field of auteur studies and reveals Lynch to be the source of a new and radical conception of fantasy.

    Qù tama, zánmen chuqù feng ba. •Who farted? Shéi fàng de pì?•Wanna try doggy-style? Yàobù zánliar shìshì gou cào shì?•Son of a bitch!Gouniángyang de!•I’m getting smashed. Wo ganjué heduo le.•I can’t eat this shit! Wo chi bù xià qù!

    Reporting back candidly at human lives steeped in urban sewers of pornography, prostitution, drug abuse, murder, and anonymous, unprotected sexual encounters, Sotos also exposes media hypocrisy surrounding these issues with ruthless clarity. Index contains reviews of the wildest porno videos and magazines, intersected by candid and shocking confessions of encounters in America's sleaziest sex bars, meat racks and glory holes. The result is a compendium of total abuse which achieves in its own right a pornographic intensity and remove.

    Horrific specters walking the streets. A drug that promises to change the world. An apocalyptic cult. Something is stirring in the city of Duluth, Minnesota. Ever since a celebrated researcher announced the creation of a new experimental drug—a drug with the potential to cure the mind of countless ills—people have been disappearing. When a grad student involved with the drug's development unexpectedly commits suicide, a private detective is tasked with unearthing the details of her tumultuous final days. This miracle drug may not be what it seems. Others touched by the drug begin to see things—horrible things—and find themselves transported into a nightmarish world where an ancient evil stirs. Those who taste the drug are left spiraling into horror. Dark figures tail them on the street, and the scenery of their nightmares begins to encroach upon waking life, blurring the lines between dreams and reality. Their terrifying experiences make up the individual fragments of a dire mosaic. As the pieces fall into place, they come to realize the unspeakable horrors that await all of mankind. Midnight is looming, and the sun may never rise again over the city of Duluth.

    Most of the songs are simple, erotic lyrics. Some are attributed to legendary courtesans, while others may have been sung at harvest festivals or marriage celebrations. In addition to the folk songs, Rexroth offers a wide sampling of Chinese verse: works by 60 different poets, from the third century to our own time. Rexroth always translated Chinese poetry—as he said—“solely to please myself.” And he created, with remarkable success, English versions which stand as poems in their own right.