A general theoretical section introduces recent work on fantasy, notably Tzventan Todorov's The Fantastic: A Structural Approach to a Literary Genre (1973). Dr Jackson, however, extends Todorov's ideas to include aspects of psychoanalytical theory. Seeing fantasy as primarily an expression of unconscious drives, she stresses the importance of the writings of Freud and subsequent theorists when analysing recurrent themes, such as doubling or multiplying selves, mirror images, metamorphosis and bodily disintegration.^l Gothic fiction, classic Victorian fantasies, the 'fantastic realism' of Dickens and Dostoevsky, tales by Mary Shelley, James Hogg, E.T.A. Hoffmann, George Eliot, Henry James, Joseph Conrad, R.L. Stevenson, Franz Kafka, Mervyn Peake and Thomas Pynchon are among the texts covered. Through a reading of thse frequently disquieting works, Dr Jackson moves towards a definition of fantasy expressing cultural unease. These issues are discussed in relation to a wide range of fantasies with varying images of desire and disenchantment.

    It is toxic, irradiated, and full of injustice. Aiming to stand aside from the mess can produce a seemingly satisfying self-righteousness in the scant moments we achieve it, but since it is ultimately impossible, individual purity will always disappoint. Might it be better to understand complexity and, indeed, our own complicity in much of what we think of as bad, as fundamental to our lives? Against Purity argues that the only answer—if we are to have any hope of tackling the past, present, and future of colonialism, disease, pollution, and climate change—is a resounding yes. Proposing a powerful new conception of social movements as custodians for the past and incubators for liberated futures, Against Purity undertakes an analysis that draws on theories of race, disability, gender, and animal ethics as a foundation for an innovative approach to the politics and ethics of responding to systemic problems.Being against purity means that there is no primordial state we can recover, no Eden we have desecrated, no pretoxic body we might uncover through enough chia seeds and kombucha. There is no preracial state we could access, no erasing histories of slavery, forced labor, colonialism, genocide, and their concomitant responsibilities and requirements. There is no food we can eat, clothes we can buy, or energy we can use without deepening our ties to complex webbings of suffering. So, what happens if we start from there?Alexis Shotwell shows the importance of critical memory practices to addressing the full implications of living on colonized land; how activism led to the official reclassification of AIDS; why we might worry about studying amphibians when we try to fight industrial contamination; and that we are all affected by nuclear reactor meltdowns. The slate has never been clean, she reminds us, and we can’t wipe off the surface to start fresh—there’s no fresh to start. But, Shotwell argues, hope found in a kind of distributed ethics, in collective activist work, and in speculative fiction writing for gender and disability liberation that opens new futures.

    This new, revised and extended edition of this seminal work will not only inspire architects and students to design more holistic architecture, but will enrich the general reader's perception of the world around them. The Eyes of the Skin has become a classic of architectural theory and consists of two extended essays. The first surveys the historical development of the ocular-centric paradigm in western culture since the Greeks, and its impact on the experience of the world and the nature of architecture. The second examines the role of the other senses in authentic architectural experiences, and points the way towards a multi-sensory architecture which facilitates a sense of belonging and integration.

    But in the advanced economies there is mounting evidence that ever-increasing consumption adds little to human happiness and may even impede it. More urgently, it is now clear that the ecosystems that sustain our economies are collapsing under the impacts of rising consumption. Unless we can radically lower the environmental impact of economic activity - and there is no evidence to suggest that we can - we will have to devise a path to prosperity that does not rely on continued growth.Economic heresy? Or an opportunity to improve the sources of well-being, creativity and lasting prosperity that lie outside the realm of the market? Tim Jackson provides a credible vision of how human society can flourish �1/2 within the ecological limits of a finite planet. Fulfilling this vision is simply the most urgent task of our times.This book is a substantially revised and updated version of Jackson's controversial study for the Sustainable Development Commission, an advisory body to the UK Government. The study rapidly became the most downloaded report in the Commission's nine year history when it was launched earlier this year.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    Contrary to stereotype, he says, it is the farmers and their colonizing descendants—ourselves—who are the true nomads, doomed to the geographical and spiritual restlessness embodied in the story of Genesis. By contrast, the hunters have a deep attachment to the place and ways of their ancestors that stems from an enviable sense, distinctively expressed in thought, word, and act, of being part of the fabric of the natural and spiritual worlds.

    This revised and enlarged edition of the leading anthology provides the essential writings of Marx and Engels--those works necessary for an introduction to Marxist thought and ideology.

    In response, both artists and thinkers have sought to transform the spectator into an active agent and the spectacle into a communal performance.In this follow-up to the acclaimed The Future of the Image, Rancière takes a radically different approach to this attempted emancipation. First asking exactly what we mean by political art or the politics of art, he goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?

    The Black Lives Matter movement has awakened a new generation of activists.In this stirring and insightful analysis, activist and scholar Keeanga-Yamahtta Taylor surveys the historical and contemporary ravages of racism and persistence of structural inequality such as mass incarceration and Black unemployment. In this context, she argues that this new struggle against police violence holds the potential to reignite a broader push for Black liberation.

    He asks how contemporary life diverges from the pattern of creation. How does this affect us? How can we do things differently?Sand Talk provides a template for living. It’s about how lines and symbols and shapes can help us make sense of the world. It’s about how we learn and how we remember. It’s about talking to everybody and listening carefully. It’s about finding different ways to look at things.Most of all it’s about Indigenous thinking, and how it can save the world.

    In Where Is Ana Mendieta? art historian Jane Blocker provides an in-depth critical analysis of Mendieta’s diverse body of work. Although her untimely death in 1985 remains shrouded in controversy, her life and artistic legacy provide a unique vantage point from which to consider the history of performance art, installation, and earth works, as well as feminism, multiculturalism, and postmodernism. Taken from banners carried in a 1992 protest outside the Guggenheim Museum in New York, the title phrase “Where is Ana Mendieta?” evokes not only the suspicious and tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, and Homi Bhabha, Blocker discusses the power of Mendieta’s earth-and-body art to alter, unsettle, and broaden the terms of identity itself. She shows how Mendieta used exile as a discursive position from which to disrupt dominant categories, analyzing as well Mendieta’s use of mythology and anthropology, the ephemeral nature of her media, and the debates over her ethnic, gender, and national identities. As the first major critical examination of this enigmatic artist’s work, Where Is Ana Mendieta? will interest a broad audience, particularly those involved with the production, criticism, theory, and history of contemporary art.

    . . told with determination and in chiseled, almost literary prose.”—Christoph Irmscher, Wall Street Journal   Meteorites, mega-volcanoes, and plate tectonics—the old forces of nature—have transformed Earth for millions of years. They are now joined by a new geological force—humans. Our actions have driven Earth into a new geological epoch, the Anthropocene. For the first time in our home planet's 4.5-billion-year history a single species is increasingly dictating Earth's future. To some the Anthropocene symbolizes a future of superlative control of our environment. To others it is the height of hubris, the illusion of our mastery over nature. Whatever your view, just below the surface of this odd-sounding scientific word, the Anthropocene, is a heady mix of science, philosophy, and politics linked to our deepest fears and utopian visions. Tracing our environmental impacts through time, scientists Simon Lewis and Mark Maslin reveal a new view of human history and a new outlook for the future of humanity in the unstable world we have created.

    Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion -- imageability -- and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

    It is the perfect introduction to feminist literary theory today.

    In their sharing of the term, both kinds of clouds reveal an essential truth: that the natural world and the technological world are not so distinct. In The Marvelous Clouds, John Durham Peters argues that though we often think of media as environments, the reverse is just as true—environments are media. Peters defines media expansively as elements that compose the human world. Drawing from ideas implicit in media philosophy, Peters argues that media are more than carriers of messages: they are the very infrastructures combining nature and culture that allow human life to thrive.  Through an encyclopedic array of examples from the oceans to the skies, The Marvelous Clouds reveals the long prehistory of so-called new media. Digital media, Peters argues, are an extension of early practices tied to the establishment of civilization such as mastering fire, building calendars, reading the stars, creating language, and establishing religions. New media do not take us into uncharted waters, but rather confront us with the deepest and oldest questions of society and ecology: how to manage the relations people have with themselves, others, and the natural world. A wide-ranging meditation on the many means we have employed to cope with the struggles of existence—from navigation to farming, meteorology to Google—The Marvelous Clouds shows how media lie at the very heart of our interactions with the world around us.  Peters’s  book will not only change how we think about media but provide a new appreciation for the day-to-day foundations of life on earth that we so often take for granted.