The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    The Holy Forest, now spanning five decades, is Blaser's highly acclaimed lifelong serial poem. This long-awaited revised and expanded edition includes numerous published volumes of verse, the ongoing "Image-Nation" and "Truth Is Laughter" series, and new work from 1994 to 2004. Blaser's passion for world making draws inspiration from the major poets and philosophers of our time—from friends and peers such as Robert Duncan, Jack Spicer, Charles Olson, Charles Bernstein, and Steve McCaffery to virtual companions in thought such as Hannah Arendt, Maurice Merleau-Ponty, Michel Foucault, and Jacques Derrida, among others. This comprehensive compilation of Blaser's prophetic meditations on the histories, theories, emotions, experiments, and countermemories of the late twentieth century will stand as the definitive collection of his unique and luminous poetic oeuvre.

    We form Art. Art forms us. The title of this book has a dual meaning. Besides the expected discussion of the various forms of art, the title also reflects the fact that art does indeed help to form us as people. As we create forms, we are in turn formed by what we have created. Several years ago, the title was changed to "Preblesa Artforms," acknowledging the pioneering contribution of the original authors, Duane and Sarah Preble, to the study of art. Their vision and spirit have touched hundreds of thousands of students who have studied this book. "Artforms "grew out of a desire to introduce art through an engaging visual experience, and to expose students to a culturally diverse canon of work. It is written and designed to help readers build an informed foundation for individual understanding and enjoyment of art.By introducing art theory, practice, and history in a single volume, this book aims to draw students into a new or expanded awareness of the visual arts. Beyond fostering appreciation of major works of art, this booka s primary concern is to open studentsa eyes and minds to the richness of the visual arts as unique forms of human communication and to convey the idea that the arts enrich life best when we experience, understand, and enjoy them as integral parts of the process of living.

    Graham Lock writes from the perceptual plane of insight and dedication-coupled with a keen wit and a dynamic intellect.

    Here are the early poems which first brought Denise Levertov's work to prominence -- from early uncollected poems, selections from The Double Image (London, 1946), and her three books Here and Now (1957), Overland to the Islands (1958) and With Eyes at the Back of Our Heads (1960), which established her as one of the more lyrical and most influential poets of the New American poetry.

    Wordsworth rejoiced in the French Revolution and played a central role in the cultural upheaval that we call the Romantic Revolution.He and his fellow Romantics changed forever the way we think about childhood, the sense of the self, our connection to the natural environment, and the purpose of poetry. But his was also a revolutionary life in the old sense of the word, insofar as his art was of memory, the return of the past, the circling back to childhood and youth. This beautifully written biography is purposefully fragmentary, momentary, and selective, opening up what Wordsworth called "the hiding-places of my power."

    They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute’s involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman’s poetry to Ed Ruscha’s photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity’s only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.

    Barbara Kellerman argues that, over time, followers have played increasingly vital roles. For two key reasons, this trend is now accelerating. Followers are becoming more important, and leaders less. Through gripping stories about a range of people and places—from multinational corporations such as Merck, to Nazi Germany, to the American military after 9/11—Kellerman makes key distinctions among five different types of followers: Isolates, Bystanders, Participants, Activists, and Diehards. And she explains how they relate not only to their leaders but also to each other. Thanks to Followership, we can finally appreciate the ways in which those with relatively fewer sources of power, authority, and influence are consequential. Moreover, they are getting bolder and more strategic. As Kellerman makes crystal clear, to fixate on leaders at the expense of followers is to do so at our peril. The latter are every bit as important as the former, which makes this book required reading for superiors and subordinates alike.

    And in portraying the politics and inflated economics surrounding the podiums of today's international classical music scene, the author investigates the awesome power of superagents, the obstacles faced by blacks, women, and gays, and the mounting crisis in a profession where genuine talent grows ever scarcer.

    Assuming no prior knowledge of poststructuralism, Critical Practice guides the reader confidently through the maze of contemporary theory. It simply and lucidly explains the views of key figures such as Louis Althusser, Roland Barthes, Jacques Lacan and Jacques Derrida, and shows their theories at work in readings of familiar literary texts.Critical Practice argues that theory matters, because it makes a difference to what we do when we read, opening up new possibilities for literary and cultural analysis. Poststructuralism, in conjunction with psychoanalysis and deconstruction, makes radical change to the way we read both a priority and a possibility.With a new chapter, updated guidance on further reading and revisions throughout, this second edition of Critical Practice is the ideal guide to the present and future of literary studies.

    In Why We Need Love, Simon Van Booy curates an enlightening collection of excerpts, passages, and paintings, presenting works by Geoffrey Chaucer, William Shakespeare, John Donne, William Blake, George Eliot, Emily Dickinson, O. Henry, W. B. Yeats, James Joyce, E. E. Cummings, Anaïs Nin, Marc Chagall, J. Krishnamurti, and others.Provocative and eye-opening, Why We Need Love is one of three slim selections of philosophical texts and excerpts—along with Why We Fight and Why Our Decisions Don’t Matter—introduced and contextualized by acclaimed author Simon Van Booy (Love Begins in Winter, The Secret Lives of People in Love).

    But whether you want to shoot squirrels, punch holes in paper targets, or defend your home, there is only one path to achieving consistent accuracy with a handgun: mastering the fundamentals of marksmanship. Written by a former U.S. Marine Corps firearms instructor who has taught more than a thousand law enforcement, military, and security personnel, The Perfect Pistol Shot uses succinct lessons, uncommon exercises, and real-world stories to provide a fresh look at a vital topic for all gunmen. It includes: The single most important "trick" to perfecting handgun marksmanship A simple concept for learning how to shoot a gun twice as fast A series of unique "Prove It" exercises that allow you to test the concepts offered without the pressure of actual shooting An entertaining chapter on guns, gun magazines, and gun gurus that will help you make wiser choices about your training Knowing how to engage targets is valuable for the defensive shooter, but if "engaging" doesn't translate into "hitting," what's the point? You must have a solid foundation on which to build tactical skills. Your reward will be conversion from just another hapless shooter into an independent marksman.

    Mark Mason has embarked on a tour of the country, immersing himself in Britain's history on a roundabout journey from AB to ZE. On the lookout for interesting place names and unusual monuments, along the way he discovers what the Queen keeps in her handbag, why the Jack Russell has a white coat and how Jimi Hendrix got confused by the M1. He visits the Harrogate hotel where Agatha Christie hid for eleven days, a bungalow in Kent that can't get a mobile phone signal because of the Second World War and the grave of a Scottish duke whose legs had to be cut off so he could fit in his coffin.At the same time Mason paints an affectionate portrait of Britain int he 21st century, from aggressive seagulls in Blackpool to 'seasoned' drinkers in Surrey. And his travels offer the perfect opportunity to delve into the history of the Royal Mail, compete with pillar boxes, posties and Penny Reds - plus Oscar Wide's unconventional method of posting a letter.A charming mix of fact, anecdote and overheard conversation, Mail Obsession plays homage to Britain's wonderful past and its curious present.

    By living the wabi sabi life, Westerners would be seeking to find peace and truth through nature, harmony and the little things. Readers can explore all aspects of this wondrous way of life: - Wabi sabi working - doing what one loves and not overdoing it; Wabi sabi eating - valuing the humble and familiar and savouring the exotic; Wabi sabi socializing - gleaning the lessons of the ancient tea ceremony; Wabi sabi creativity - enriching one's life by; valuing individual moments. The author serves as a highly eloquent guide on the reader's journey to a simpler, more fulfilling life

    Just the day before, Shelly and her family had arrived in the northern Philippine village of Mungayang, where she and her husband Renato, both accomplished anthropologists, planned to conduct fieldwork. On October 11, Shelly died after losing her footing and falling some sixty feet from a cliff into a swollen river. Renato Rosaldo explored the relationship between bereavement and rage in his canonical essay, "Grief and a Headhunter's Rage," which first appeared in 1984 and is reprinted here. In the poems at the heart of this book, he returns to the trauma of Shelly's death through the medium of free verse, maintaining a tight focus on the events of October 11, 1981. He explores not only his own experience of Shelly's death but also the imagined perspectives of many others whose lives intersected with that tragic event and its immediate aftermath, from Shelly herself to the cliff from which she fell, from the two young boys who lost their mother to the strangers who carried and cared for them, from a tricycle taxi driver, to a soldier, to priests and nuns. Photographs taken years earlier, when Renato and Shelly were conducting research across the river valley from Mungayang, add a stark beauty. In a new essay, "Notes on Poetry and Ethnography," Rosaldo explains how and why he came to write the harrowing yet beautiful poems in The Day of Shelly's Death. More than anything else though, the essay is a manifesto in support of what he calls antropoesía, verse with an ethnographic sensibility. The essay clarifies how this book of rare humanity and insight challenges the limits of ethnography as it is usually practiced.