Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once. Low theory is derived from eccentric archives. It runs the risk of not being taken seriously. It entails a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance. Tacking back and forth between high theory and low theory, high culture and low culture, Halberstam looks for the unexpected and subversive in popular culture, avant-garde performance, and queer art. She pays particular attention to animated children’s films, revealing narratives filled with unexpected encounters between the childish, the transformative, and the queer. Failure sometimes offers more creative, cooperative, and surprising ways of being in the world, even as it forces us to face the dark side of life, love, and libido.

    His work on the fantastic is indeed about a historical phenomenon that we recognize, about specific works that we may read, but it is also about the use and abuse of generic theory.As an essay in fictional poetics, The Fantastic is consciously structuralist in its approach to the generic subject. Todorov seeks linguistic bases for the structural features he notes in a variety of fantastic texts, including Potocki's The Sargasso Manuscript, Nerval's Aur lia, Balzac's The Magic Skin, the Arabian Nights, Cazotte's Le Diable Amoureux, Kafka's The Metamorphosis, and tales by E. T. A. Hoffman, Charles Perrault, Guy de Maupassant, Nicolai Gogol, and Edgar A. Poe.

    The groundbreaking works that comprise The Uncanny present some of his most influential explorations of the mind. In these pieces Freud investigates the vivid but seemingly trivial childhood memories that often "screen" deeply uncomfortable desires; the links between literature and daydreaming; and our intensely mixed feelings about things we experience as "uncanny." Also included is Freud's celebrated study of Leonardo Da Vinci-his first exercise in psychobiography.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Using lively examples from his and other researchers′ experiences, friendly, practical tips, and a warm, reflective writing style, this second edition has been completely updated and includes new features, such as:Chapter 4 on Linking Up: Provides readers with thoughtful guidelines as to how and where to use theory, what needs to be said about method, some thoughts about the traditional literature review (as well as how to decide whether or not to include this material!) Applications: Give readers the opportunity to put into practice some of Wolcott′s tips to improve or jump-start their own writing Bulleted Reviews: Highlight the key points to remember from each chapterRead the book that will not only enable you to better tell the story of your research in the article, monograph, or dissertation you need to write but also help you to incorporate writing into the essential role it must play in a professional research career.

    The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive--no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself.This volume surveys the full diversity of our transformed theoretical and critical notions of the archive--as idea and as physical presence--from Freud's mystic writing pad to Derrida's archive fever; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Ren�e Green, and The Atlas Group in the present.Not for sale in the UK and Europe.

    From granular concerns, such as sentence structure and grammar, to big-picture issues, such as adhering to genre patterns for successful research and publishing and developing productive and rewarding writing habits, Hayot helps ambitious students, newly minted Ph.D.'s, and established professors shape their work and develop their voices.Hayot does more than explain the techniques of academic writing. He aims to adjust the writer's perspective, encouraging scholars to think of themselves as makers and doers of important work. Scholarly writing can be frustrating and exhausting, yet also satisfying and crucial, and Hayot weaves these experiences, including his own trials and tribulations, into an ethos for scholars to draw on as they write. Combining psychological support with practical suggestions for composing introductions and conclusions, developing a schedule for writing, using notes and citations, and structuring paragraphs and essays, this guide to the elements of academic style does its part to rejuvenate scholarship and writing in the humanities.

    Bigger, stronger and more cunning than any other predator in the woods, this murderer has only existed in legends and the nightmares of the few to survive an encounter … until now. Dr. Jake Sanders, world-renowned expert on predators and predatory behavior, is on a quest to find the monster that did far worse than wound him. Deputy Julie Reed, a strong, beautiful and lethal enforcer of justice, fearlessly pursues a violent adversary unaware of the twisted path destiny will lay before her. Simon Standing Elk, a recovering alcoholic well on the road to atoning for past sins until a terrifying encounter that now threatens not only his life, but his soul as well. Three different people. Three very different backgrounds. One secret organization. This is the story of events that brought them together and, if they’re not careful, could destroy them all – or worse.

    Joyce Odell of Red Hen Productions, Daniella Teo of Mugglenet, Sally M. Gallo of The Leaky Cauldron, Wendy B. Harte and the mysterious "Swythyv" - along with editor, John Granger (author of Hidden Key to Harry Potter, etc.)- provide Harry Potter readers with exciting and insightful ideas of what happened and what will happen based on their close reading of the texts ... ideas that will challenge and engage readers everywhere. Travis Prinzi, creator of THE SWORD OF GRIFFYNDOR website, writes that these essays "will stand as a monument to the kind of guesswork we were all involved in as we awaited the final Harry Potter book."

    Fussell illuminates a war that changed a generation and revolutionised the way we see the world. He explores the British experience on the western Front from 1914 to 1918, focusing on the various literary means by which it has been remembered, conventionalized and mythologized. It is also about the literary dimensions of the experience itself. Fussell supplies contexts, both actual and literary, for writers who have most effectively memorialized the Great War as an historical experience with conspicuous imaginative and artistic meaning. These writers include the classic memoirists Siegfried Sassoon, Robert Graves and Edmund Blunden, and poets David Jones, Isaac Rosenberg, and Wilfred Owen. In his new introduction Fussell discusses the critical responses to his work, the authors and works that inspired his own writing, and the elements which influence our understanding and memory of war. Fussell also shares the stirring experience of his research at the Imperial War Museum's Department of Documents. Fussell includes a new Suggested Further Reading List.Fussell's landmark study of World War I remains as original and gripping today as ever before: a literate, literary, and illuminating account of the Great War, the one that changed a generation, ushered in the modern era, and revolutionized how we see the world. 14 halftones.

    When the apprentices of a Paris printing shop in the 1730's held a series of mock trials and then hanged all the cats they could lay their hands on, why did they find it so hilariously funny that they choked with laughter when they reenacted it in pantomime some twenty times? Why in the 18th century version of "Little Red Riding Hood" did the wolf eat the child at the end? What did the anonymous townsman of Montpelier have in mind when he kept an exhaustive dossier on all the activities of his native city? These are some of the provocative questions Robert Darnton attempts to answer in this dazzling series of essays that probe the ways of thought in what we like to call "The Age of Enlightenment."

    Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by", metaphors that can shape our perceptions and actions without our ever noticing them.In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.

    An analysis of Victorian women writers, this pathbreaking book of feminist literary criticism is now reissued with a substantial new introduction by Sandra Gilbert and Susan Gubar that reveals the origins of their revolutionary realization in the 1970s that "the personal was the political, the sexual was the textual."Contents:The Queen's looking glass: female creativity, male images of women, and the metaphor of literary paternity --Infection in the sentence: the women writer and the anxiety of authorship --The parables of the cave --Shut up in prose: gender and genre in Austen's Juvenilia --Jane Austen's cover story (and its secret agents) --Milton's bogey: patriarchal poetry and women readers --Horror's twin: Mary Shelley's monstrous Eve --Looking oppositely: Emily Brontë's bible of hell --A secret, inward wound: The professor's pupil --A dialogue of self and soul: plain Jane's progress --The genesis of hunger, according to Shirley --The buried life of Lucy Snowe --Made keen by loss: George Eliot's veiled vision --George Eliot as the angel of destruction --The aesthetics of renunciation --A woman, white: Emily Dickinson's yarn of pearl.

    It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness.This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.

    Index.

    In this age of CNN-mediated war, the lives of those wretched populations of the earth—the refugees; the victims of unjust imprisonment and torture; the immigrants virtually enslaved by their starvation and legal disenfranchisement—are always presented to us as already irretrievable and thereby already lost. We may shake our heads at their wretchedness but then we sacrifice them nonetheless, for they are already forgone.By analyzing the different frames through which we experience war, Butler calls for a reorientation of the Left toward the precarity of those lives. Only by recognizing those lives as precarious lives—lives that are not yet lost but are ever fragile and in need of protection—might the Left stand in unity against the violence perpetrated through arbitrary state power.