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Finnegans Wake - Human and Nonhuman Histories opens new ground by exploring the productive tension between anthropocentric and non-anthropocentric readings of James Joyce's final modernist masterpiece. Drawing on the most up-to-date theories and methodologies (the Anthropocene, new materialism, petroculture studies, the blue humanities, animal studies, ecofeminism, ecomedia), twelve leading Joyce scholars offer valuable new insights into the interwoven historical and planetary dimensions of Finnegans Wake. The volume's focus allows the contributors to read the Wake's nonhuman imaginary in original, often surprising comparative contexts (colonialism, the Irish Revival, the Free State's energy policies, the invention of television) and to spotlight enlightening nonhuman themes in Joyce's circular history (bogs, storms, rivers, bodily fluids, skin, wolves, mourning, DNA, atoms, labour, music). As these chapters show, a century later, Finnegans Wake remains a vibrant and vital text in which to interrogate the limits, exploitations and common plight of human and nonhuman life in the 21st-century.
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Transnational crime remains a particularly serious problem in Latin America, with most issues connected to the drug trade. There are several relevant roles that the U.S. Air Force can and should play in boosting Mexico?'s capacity to counter drug production and trafficking, as well as further honing and adjusting its wider counternarcotics effort in Latin America.
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Learn how to stay where you are and do what energizes and engages you with this sophisticated yet profoundly practical guide to career fulfillment. Make It Work delivers expert advice and dozens of smart, easy-to-use tools to help you discover your passions, choose a direction, practice new skills, and do what you love to do—every day.
In his comprehensive study of love in James Joyce's writings, Christopher DeVault suggests that a love ethic persists throughout Joyce's works. DeVault uses Martin Buber's distinction between the true love for others and the narcissistic desire for oneself to frame his discussion, showing that Joyce frequently ties his characters' personal and political pursuits to their ability to affirm both their loved ones and their fellow Dubliners. In his short stories and novels, DeVault argues, Joyce shows how personal love makes possible a broader social compassion that creates a more progressive body politic. While his early protagonists' narcissism limits them to detached engagements with Dublin that impede effective political action, Joyce demonstrates the viability of his love ethic through both the Blooms’ empathy in Ulysses and the polylogic dreamtext of Finnegan's Wake. In its revelation of Joyce's amorous alternative to the social and political paralysis he famously attributed to twentieth-century Dublin, Joyce's Love Stories allows for a better appreciation of the ethical and political significance underpinning the author's assessments of Ireland.
"In 1996, the University of Alabama Press published a prodigious benchmark volume, The Paleoindian and Early Archaic Southeast, edited by David G. Anderson and Kenneth E. Sassaman. It was the first to provide a state-by-state record of the Paleolithic and early Archaic eras (to approximately 8,000 years ago) in this region as well as models to interpret data excavated from those eras. It summarized what was known of the peoples who lived in the Southeast when ice sheets covered the northern part of the continent and mammals such as elephants, saber-toothed tigers, and ground sloths roamed the landscape. In the United States, the Southeast has some of most robust data on these eras. The Ameri...
This book offers a fundamental and comprehensive re-evaluation of one of Joyce’s most pervasive themes. By showing that betrayal was central to how Joyce understood and depicted the difficulties and terrors at the heart of all relationships, this book re-conceives Joyce’s approach to history, politics, and the other. Leaving behind the pathologizing discourses by which Joyce’s interest in betrayal has been treated as an ‘obsession,’ this book offers a vision of Joyce as both dramatist and theorist of betrayal. It demonstrates that, rather than being compelled by some unconscious urge to produce and reproduce textual betrayals, Joyce had a deep and hard-won conception of the specific dramatic energies wrapped up in the language and structures of betrayal and repeatedly found ways to make use of this understanding in his work.