First published in 1996, Bound and Gagged opens with the chilling case of Daniel DePew, a man convicted—in the first computer bulletin board entrapment case—of conspiring to make a snuff film and sentenced to thirty-three years in prison for merely trading kinky fantasies with two undercover cops.Using this textbook example of social hysteria as a springboard, Kipnis argues that criminalizing fantasy—even perverse and unacceptable fantasy—has dire social consequences. Exploring the entire spectrum of pornography, she declares that porn isn’t just about gender and that fantasy doesn’t necessarily constitute intent. She reveals Larry Flynt’s Hustler to be one of the most politically outspoken and class-antagonistic magazine in the country and shows how fetishes such as fat admiration challenge our aesthetic prejudices and socially sanctioned disgust. Kipnis demonstrates that the porn industry—whose multibillion-dollar annual revenues rival those of the three major television networks combined—know precisely how to tap into our culture’s deepest anxieties and desires, and that this knowledge, more than all the naked bodies, is what guarantees its vast popularity.Bound and Gagged challenges our most basic assumptions about America’s relationship with pornography and questions what the calls to eliminate it are really attempting to protect.

    Scenes of Subjection examines the forms of domination that usually go undetected; in particular, the encroachments of power that take place through notions of humanity, enjoyment, protection, rights, and consent. By looking at slave narratives, plantation diaries, popular theater, slave performance, freedmen's primers, and legal cases, Hartman investigates a wide variety of "scenes" ranging from the auction block and minstrel show to the staging of the self-possessed and rights-bearing individual of freedom.While attentive to the performance of power--the terrible spectacles of slaveholders' dominion and the innocent amusements designed to abase and pacify the enslaved--and the entanglements of pleasure and terror in these displays of mastery, Hartman also examines the possibilities for resistance, redress and transformation embodied in black performance and everyday practice.This important study contends that despite the legal abolition of slavery, emergent notions of individual will and responsibility revealed the tragic continuities between slavery and freedom. Bold and persuasively argued, Scenes of Subjection will engage readers in a broad range of historical, literary, and cultural studies.

    His neighbors have been a great help with his daughter Charlotte, but he can’t work and take care of her properly.The town matchmaker Emma Hilton has the perfect woman to help Bradley with his baby girl.Nanny Shannon Howell loves taking care of children, but she’d also like to find a husband. She’s eager to travel west in hopes of finding a family to call her own. Shannon is happy to help Bradley with baby Charlotte. Unfortunately, Shannon’s former employer is having problems letting her go.Will the man that traveled across the country drag her back to the east?Has Shannon found the place where she can be her true self with Bradley and Charlotte in Lubbock, Texas?Find out in the first book in a brand new series from Bestselling Mail Order Bride Authors Indiana Wake & Belle Fiffer

    Forty-six, divorced, and having recently walked away from her practice as a psychologist, she fears her best years are behind her. Fiona, Quinn's best friend since childhood, has a plan to get her out of her rut — a trip to Ireland! Quinn loves everything about Ireland: the people, the culture, the scenery and especially a little town called Ballyfrannen. On a whim, she decides to move there and Fiona is eager to do the same. At first things seem to be working out perfectly. They find a charming little stone cottage to buy and set about renovating it. Unfortunately, Quinn has a massive crush on the building contractor they hire to do the work. She feels like a tongue tied schoolgirl whenever he's around. But then, love has never gone smoothly for Quinn. A visit from Quinn's former husband only complicates her life further. Missing her work as a psychologist and desperately needing a distraction, Quinn volunteer a few hours a week at the local mental health clinic. Soon things take a dark turn. It sure seems like someone is trying to kill her. Quinn is not about to let anyone spoil her hard won new life though. Surrounded by her new friends, Fiona and a menagerie of animals, Quinn sets out to find some answers. She's in way over her head, though, as she uncovers, one by one, the dark secrets of this bucolic little town.

    Third World feminism" into the narrative in a way that thoroughly alters our perspective on contemporary culture and subjectivity.What Sandoval has identified is a language, a rhetoric of resistance to postmodern cultural conditions. U.S liberation movements of the post-World War II era generated specific modes of oppositional consciousness. Out of these emerged a new activity of consciousness and language Sandoval calls the "methodology of the oppressed". This methodology -- born of the strains of the cultural and identity struggles that currently mark global exchange -- holds out the possibility of a new historical moment, a new citizen-subject, and a new form of alliance consciousness and politics.Utilizing semiotics and U.S. Third World feminist criticism, Sandoval demonstrates how this methodology mobilizes love as a category of critical analysis. Rendering this approach in all its specifics, Methodology of the Oppressed gives rise to an alternative mode of criticism opening new perspectives on a theoretical, literary, aesthetic, social movement, or psychic expression.

    He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.

    The fiercely devoted one she uses for her best friend, the one of a lover and confidant to her fiancé, and the real one she keeps reserved for looking in the mirror and battling her inner demons. Life is fairly normal for Vixen until her verbally abusive mother reenters her life, dredging up traumatic childhood memories, and bringing a handsome stranger into the mix with her devious antics causing Vixen to reprise her role as caregiver and bread winner.Gino Romano is infamous for many reasons: his notoriety for being one of the youngest king pins in New York City, the cold manner in which he handles business, and the notable political ties he's managed to create along the way through "profit sharing." However, the most prominent thing he's known for is the ice fortress he's built around his heart. Because of his past, Gino keeps women at an arms length, believing it hard to find one who could accept the scarred past he comes with. Until he lays eyes on Vixen.Brought together for all the wrong reasons, Vixen and Gino find a common ground that not only develops into a budding friendship, but sparks a love affair. From the moment they become one they must fight to protect their love from those who plan to destroy it by any means necessary, one of which being the very reason Vixen ran away from home ten years ago in the dead of night.Will the forces determined to see Gino and Vixen destroyed win? Or will their love prevail? Set in a spicy Brooklyn backdrop, A Brooklyn Love Affair brings to life pain, forgiveness, and the never ending possibility of finding love.

    Spanning the century between Victorian Britain and the current struggle for power in South Africa, the book takes up the complex relationships between race and sexuality, fetishism and money, gender and violence, domesticity and the imperial market, and the gendering of nationalism within the zones of imperial and anti-imperial power.

    Examining the ancient poetry and myths found in African, Latin American, and Caribbean culture, and particularly the Yoruba trickster figure of Esu-Elegbara and the Signifying Monkey whose myths help articulate the black tradition's theory of its literature, Gates uncovers a unique system for interpretation and a powerful vernacular tradition that black slaves brought with them to the New World. His critical approach relies heavily on the Signifying Monkey--perhaps the most popular figure in African-American folklore--and signification and Signifyin(g). Exploring signification in black American life and literature by analyzing the transmission and revision of various signifying figures, Gates provides an extended analysis of what he calls the Talking Book, a central trope in early slave narratives that virtually defines the tradition of black American letters. Gates uses this critical framework to examine several major works of African-American literature--including Zora Neale Hurston's Their Eyes Were Watching God, Ralph Ellison's Invisible Man, and Ishmael Reed's Mumbo Jumbo--revealing how these works signify on the black tradition and on each other. The second volume in an enterprising trilogy on African-American literature, The Signifying Monkey--which expands the arguments of Figures in Black--makes an important contribution to literary theory, African-American literature, folklore, and literary history.

    Offering an unflinching account of race and representation, Frank B. Wilderson III asks whether such films accurately represent the structure of U.S. racial antagonisms. That structure, he argues, is based on three essential subject positions: that of the White (the “settler,” “master,” and “human”), the Red (the “savage” and “half-human”), and the Black (the “slave” and “non-human”). Wilderson contends that for Blacks, slavery is ontological, an inseparable element of their being. From the beginning of the European slave trade until now, Blacks have had symbolic value as fungible flesh, as the non-human (or anti-human) against which Whites have defined themselves as human. Just as slavery is the existential basis of the Black subject position, genocide is essential to the ontology of the Indian. Both positions are foundational to the existence of (White) humanity.Wilderson provides detailed readings of two films by Black directors, Antwone Fisher (Denzel Washington) and Bush Mama (Haile Gerima); one by an Indian director, Skins (Chris Eyre); and one by a White director, Monster’s Ball (Marc Foster). These films present Red and Black people beleaguered by problems such as homelessness and the repercussions of incarceration. They portray social turmoil in terms of conflict, as problems that can be solved (at least theoretically, if not in the given narratives). Wilderson maintains that at the narrative level, they fail to recognize that the turmoil is based not in conflict, but in fundamentally irreconcilable racial antagonisms. Yet, as he explains, those antagonisms are unintentionally disclosed in the films’ non-narrative strategies, in decisions regarding matters such as lighting, camera angles, and sound.

     With all established infrastructure and support systems gone, they must learn new skills quickly: skills which have become unfamiliar to most people living in modern times. By turns moving, shocking and humorous, it is a tale of ordinary people trying to build new lives in extraordinary circumstances and the practical issues they have to address. In a lawless country where societal norms have been destroyed, they encounter other survivors - some friendly; some hostile. But do they have what it takes to survive in this harsh new world? “Really enjoyed it. Flowed really well. Loved the detail you put into things and made me feel like I could actually survive!” Stuart R. “Your style is quite chatty and easy to read and your descriptions are evocative: it's very easy to visualise things! You also reminded me a bit of elements of Day of The Triffids, I think in style. TBH I really liked your general style - it's engaging without being hard work.” Dee T. “ Wow! It's over. Loved it and loved the ending… What was great is we were both always looking forward to the next chapter. Brilliant. We both loved it.” Sue Z. “Great stuff… thoroughly enjoyed it… The story is way too good not to be shared with millions of people.” Ant Z. “I can't believe it's over! I just finished it: it was really good! And that last sentence makes me hopeful for a sequel!!” Steph L. “The pace of the novel is about right, with the reader able to follow the characters through their journeys, both individually and combined. It feels moralistic without being prescriptive, leaving the reader to make up their own mind about where they would stand in such a circumstance.” Michael S.