Monsters provide a key to understanding the culture that spawned them. So argue the essays in this wide-ranging and fascinating collection that asks the question, What happens when critical theorists take the study of monsters seriously as a means of examining our culture? aIn viewing the monstrous body as a metaphor for the cultural body, the contributors to Monster Theory consider beasts, demons, freaks, and fiends as symbolic expressions of cultural unease that pervade a society and shape its collective behavior. Through a historical sampling of monsters, these essays argue that our fascination for the monstrous testifies to our continued desire to explore difference and prohibition. Contributors: Mary Baine Campbell, Brandeis U; David L. Clark, McMaster U; Frank Grady, U of Missouri, St. Louis; David A. Hedrich Hirsch, U of Illinois; Lawrence D. Kritzman, Dartmouth College; Kathleen Perry Long, Cornell U; Stephen Pender; Allison Pingree, Harvard U; Anne Lake Prescott, Barnard College; John O'Neill, York U; William Sayers, George Washington U; Michael Uebel, U of Virginia; Ruth Waterhouse. "

    Carter portrays Proust’s amorous adventures and misadventures from adolescence through his adult years, supplying where appropriate Proust’s own sensitive, intelligent, and often disillusioned observations about love and sexuality. Proust is revealed as a man agonizingly caught between the constant fear of public exposure as a homosexual and the need to find and express love. In telling the story of Proust in love, Carter also shows how the author’s experiences became major themes in his novel In Search of Lost Time.Carter discusses Proust’s adolescent sexual experiences, his disastrous brothel visit to cure homosexual inclinations, and his first great loves. He also addresses the duel Proust fought after the journalist Jean Lorrain alluded to his homosexuality in print, his flirtations with respectable women and high-class prostitutes, and his affairs with young men of the servant class. With new revelations about Proust’s love life and a gallery of photographs, the book provides an unprecedented glimpse of Proust’s gay Paris.

    But the idea that the earth has a hollow interior was first proposed as a scientific theory in 1691 by Sir Edmond Halley (of comet fame), who also suggested that there might be life down there as well. Hollow Earth traces the many surprising, marvelous, and just plain weird permutations his ideas have taken over the centuries. Both Edgar Allan Poe and (more famously) Jules Verne picked up the torch in the nineteenth century, the latter with his science fiction epic A Journey to the Center of the Earth. The notion of a hollow earth even inspired a religion at the turn of the twentieth century-Koreshanity, which held not only that the earth was hollow, but also that we're all living on the inside. Utopian novels and adventures abounded at this same time, including L. Frank Baum's hollow earth addition to the Oz series and Edgar Rice Burroughs's Pellucidar books chronicling a stone-age hollow earth. In the 1940s an enterprising science-fiction magazine editor convinced people that the true origins of flying saucers lay within the hollow earth, relics of an advanced alien civilization. And there are still devout hollow earthers today, some of whom claim there is a New Age utopia lurking beneath the earth's surface, with at least one entrance near Mt. Shasta in California. Hollow Earth travels through centuries and cultures, exploring how each era's relationship to the idea of a hollow earth mirrored its hopes, fears, and values. Illustrated with everything from seventeenth-century maps to 1950s pulp art to movie posters and more, Hollow Earth is for anyone interested in the history of strange ideas that just won't go away.

    Parallax can be defined as the apparent displacement of an object, caused by a change in observational position. Zizek is interested in the "parallax gap" separating two points between which no synthesis or mediation is possible, linked by an "impossible short circuit" of levels that can never meet. From this consideration of parallax, Zizek begins a rehabilitation of dialectical materialism.Modes of parallax can be seen in different domains of today's theory, from the wave-particle duality in quantum physics to the parallax of the unconscious in Freudian psychoanalysis between interpretations of the formation of the unconscious and theories of drives. In The Parallax View, Zizek, with his usual astonishing erudition, focuses on three main modes of parallax: the ontological difference, the ultimate parallax that conditions our very access to reality; the scientific parallax, the irreducible gap between the phenomenal experience of reality and its scientific explanation, which reaches its apogee in today's brain sciences (according to which "nobody is home" in the skull, just stacks of brain meat--a condition Zizek calls "the unbearable lightness of being no one"); and the political parallax, the social antagonism that allows for no common ground. Between his discussions of these three modes, Zizek offers interludes that deal with more specific topics--including an ethical act in a novel by Henry James and anti-anti-Semitism.The Parallax View not only expands Zizek's Lacanian-Hegelian approach to new domains (notably cognitive brain sciences) but also provides the systematic exposition of the conceptual framework that underlies his entire work. Philosophical and theological analysis, detailed readings of literature, cinema, and music coexist with lively anecdotes and obscene jokes. This is Zizek at the height of his powers, both as a writer and a thinker.

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    He insists that such a move could bring new luster to a tired field, one that in some respects is among “the most backwards disciplines in the academy.” Literary study, he argues, has been random and unsystematic. For any given period scholars focus on a select group of a mere few hundred texts: the canon. As a result, they have allowed a narrow distorting slice of history to pass for the total picture.Moretti offers bar charts, maps, and time lines instead, developing the idea of “distant reading,” set forth in his path-breaking essay “Conjectures on World Literature,” into a full-blown experiment in literary historiography, where the canon disappears into the larger literary system. Charting entire genres—the epistolary, the gothic, and the historical novel—as well as the literary output of countries such as Japan, Italy, Spain, and Nigeria, he shows how literary history looks significantly different from what is commonly supposed and how the concept of aesthetic form can be radically redefined.

    Pure Mathematics 1 corresponds to unit P1. It covers quadratics, functions, coordinate geometry, circular measure, trigonometry, vectors, series, differentiation and integration.

    The book covers the full range of his work, including verse, essays and reflective prose as well as fiction. Celia Hawkesworth also provides an account of Andric's life, and the cultural history of his native Bosnia.>The story of the vizier's elephant --The bridge on the Žepa --In the guest-house --Death in Sinan's tekke --The climbers --A letter from 1920 --The house on its own : introduction --Alipasha --A story --The damned yard

    Much has been written to assess his lasting legacy and why he has had such a profound impact on 20th-century readers.As well as delving into the plots of Lewis's enduring works, you will consider questions such as:From the magisterial "Oxford History of English Literature" to children's fantasy books, how did Lewis write with such brilliance and coherence across so many distinct and demanding fields?What were the people, events, and influences that shaped his thought, his character, and the spiritual drama at his life's core?What do Lewis's fictional and factual autobiographies reveal about his conversion and his efforts to "explain and defend the belief that has been common to nearly all Christians at all times"?How did he argue for his ethical notion of "the Tao"—a non-relative set of standards, held widely across all cultures, which modern ideologies often distort?How did he use his apologetical writings to come to grips with perennial spiritual questions involving miracles; the meaning of suffering; the reality of heaven and hell; and the nature of choice, sin, and salvation?How do his scholarly works analyze modern prejudices about the past and offer a vivid, accessible defense of medieval and Renaissance thought?In Lectures 7 through 11, we turn to Lewis the fictional novelist:The unfallen world of Perelandra in the Space Trilogy (1938–45)The beloved Chronicles of Narnia (1950–1956) children's series for which he is perhaps best knownTill We Have Faces (1961), a mature and beautiful reworking of the Cupid and Psyche myth whose heroine is patterned after Lewis's wife, Joy.Professor Louis Markos is a member of Phi Beta Kappa and has won teaching awards at both the University of Michigan and Houston Baptist University. He presents this course as a sympathetic, deeply felt exposition of Lewis's multifaceted thought and works, making no secret of the fact that he is a longtime and enthusiastic fan of Lewis's writings.

    Lovecraft to the Speculative Realist philosophers. Lovecraft was one of the brightest stars of the horror and science fiction magazines, but died in poverty and relative obscurity in the 1930s. In 2005 he was finally elevated from pulp status to the classical literary canon with the release of a Library of America volume dedicated to his work. The impact of Lovecraft on philosophy has been building for more than a decade. Initially championed by shadowy guru Nick Land at Warwick during the 1990s, he was later discovered to be an object of private fascination for all four original members of the twenty-first century Speculative Realist movement. In this book, Graham Harman extracts the basic philosophical concepts underlying Lovecrafts work, yielding a "weird realism" capable of freeing continental philosophy from its current soul-crushing impasse. Abandoning Heideggers pious references to Hölderlin and the Greeks, Harman develops a new philosophical mythology centered in such Lovecraftian figures as Cthulhu, Wilbur Whately, and the rat-like monstrosity Brown Jenkin. The Miskatonic River replaces the Rhine and the Ister, while Hölderlin Caucasus gives way to Lovecrafts Antarctic mountains of madness.

    A team of contemporary fiction scholars from both sides of the Atlantic has been assembled to provide a through and readable analysis of each of the novels in question. The books in the series all follow the same structure: a biography of the novelist, including other works, influences, and, in some cases, an interview; a full-length study of the novel, drawing out the most important themes and ideas; a summary of how the novel was received upon publication; a summary of how the novel has performed since publication, including film or television adaptations, literary prizes, and so forth; a wide range of suggestions for further reading, including web sites and discussion forums; and a list of questions for reading groups to discuss.

    Collections of interviews with notable modern writers

    'For the specialist in the study of narrative structure, this is a solid and very perceptive exploration of the issues salient to the telling of a story-whatever the medium. Chatman, whose approach here is at once dualist and structuralist, divides his subject into the 'what' of the narrative (Story) and the 'way'(Discourse)... Chatman's command of his material is impressive.'

    Jameson’s inquiry looks at the postmodern across a wide landscape, from “high” art to “low” from market ideology to architecture, from painting to “punk” film, from video art to literature.

    Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other.This is a book no reader, writer or speaker should be without.