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What Animals Mean in the Fiction of Modernity argues that nonhuman animals, and stories about them, have always been closely bound up with the conceptual and material work of modernity. In the first half of the book, Philip Armstrong examines the function of animals and animal representations in four classic narratives: Robinson Crusoe, Gulliver's Travels, Frankenstein and Moby-Dick. He then goes on to explore how these stories have been re-worked, in ways that reflect shifting social and environmental forces, by later novelists, including H.G. Wells, Upton Sinclair, D.H. Lawrence, Ernest Hemingway, Franz Kafka, Brigid Brophy, Bernard Malamud, Timothy Findley, Will Self, Margaret Atwood, Yann Martel and J.M. Coetzee.What Animals Mean in the Fiction of Modernity also introduces readers to new developments in the study of human-animal relations. It does so by attending both to the significance of animals to humans, and to animals’ own purposes or designs; to what animals mean to us, and to what they mean to do, and how they mean to live.--publisher.
Fiction --- Thematology --- English literature --- Animals in literature --- English fiction --- American fiction --- Human-animal relationships in literature --- Animals --- Modernism (Literature) --- History and criticism --- Social aspects --- 82.091 --- 82.04 --- 820 "17/19" --- Vergelijkende literatuurstudie --- Literaire thema's --- Engelse literatuur--?"17/19" --- 820 "17/19" Engelse literatuur--?"17/19" --- 82.04 Literaire thema's --- 82.091 Vergelijkende literatuurstudie --- English fiction - History and criticism --- American fiction - History and criticism --- Animals - Social aspects --- Modernism (Literature) - Great Britain --- Modernism (Literature) - United States --- Animals in literature. --- Human-animal relationships in literature. --- History and criticism. --- Social aspects.
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In recent decades the humanities and social sciences have undergone an ‘animal turn’, an efflorescence of interdisciplinary scholarship which is fresh and challenging because its practitioners consider humans as animals amongst other animals, while refusing to do so from an exclusively or necessarily biological point of view. Knowing Animals showcases original explorations of the ‘animal turn’ by new and eminent scholars in philosophy, literary criticism, art history and cultural studies. The essays collected here describe a lively bestiary of cultural organisms, whose flesh is (at least partly) conceptual and textual: paper tigers, beast fables, anthropomorphs, humanimals, l’animot. In so doing, they investigate the benefits of knowing animals differently: more closely, less definitively, more carefully, less certainly. Contributors include: Laurence Simmons, Alphonso Lingis, Barbara Creed, Tanja Schwalm, Philip Armstrong, Annie Potts, Allan Smith, Ricardo De Vos, Catharina Landström, Brian Boyd, Helen Tiffin, Ian Wedde.
Animal behavior. --- Anthropomorphism. --- Human-animal relationships. --- Symbolism --- God --- Animal-human relationships --- Animal-man relationships --- Animals and humans --- Human beings and animals --- Man-animal relationships --- Relationships, Human-animal --- Animals --- Animals, Habits and behavior of --- Behavior, Animal --- Ethology --- Animal psychology --- Zoology --- Ethologists --- Psychology, Comparative --- Corporeality --- Behavior --- Human-animal relationships --- Animal behavior --- Anthropomorphism
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Political science --- Philosophy --- Nancy, Jean-Luc --- Political and social views.
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"Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions"-- "Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions. Recalling that drawing and design were once used interchangeably, Nancy notes that "drawing" designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic sense. If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around the same questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers"--
Drawing --- Philosophy
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The collapse of the East European regimes has led many commentators to proclaim the international victory of capitalism. This challenging and comprehensive book charts the development of capitalism in the post-war period and demonstrates how, on two occasions since 1945, the system has faced severe threats. In 1945 support was widespread for a new economic system untarnished by responsibility for the slump of the 1930s and the subsequent war. Rolling back the challenge to the capitalist order in Europe and Japan is shown to be the major task of post-war reconstruction. the susbequent unprecedented boom of the 1950s and 1960s saw sustained growth of living standards, the consolidation of the welfare state and the acceptance of interventionist policies throughout the industrialized world. Yet the very strength of the boom undermined itself as workers' bargaining power rose and the United States' economic pre-eminence was eroded. From the mid-1960s profits began to fall, inflation accelerated and investment faltered. The Oil Shock of 1973 exposed the vulnerability of the capitalist economies. The resulting slowdown saw stagnant living standards, mass unemployment and a turn to free market policies. Economic growth in the 1980s has been hesitant and plagued by financial instability. This book should be widely read by students of the contemporary European and OECD economies. It is accessible to those approaching the subject from economics, political economy, international relations and economic history. It represents the only attempt to document the economic history of the major advanced capitalist countries since 1945 which combines the interpretation of the major macoreconomic trends ; the evolution of industrial relations ; the development of economic policies ; the course of international economic relations.
Economic history --- Capitalism --- History --- 338 <09> --- -Economic history --- -Economic conditions --- History, Economic --- Economics --- Market economy --- Profit --- Capital --- Economische geschiedenis --- -Capitalism --- -Economische geschiedenis --- -338 <09> --- 338 <09> Economische geschiedenis --- -338 <09> Economische geschiedenis --- Economic conditions --- Economic history - 1945 --- -Capitalism - History - 20th century --- Histoire économique --- Capitalisme
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Que veut-on dire si on affirme que tout n’est pas politique ? Ou bien que la vérité de la démocratie est au-delà de ce qu’on entend comme politique démocratique ? Ou que le « communisme » est à la fois une donnée de fait et une exigence qui excède la politique ? Tel est le fil conducteur des questions que Philip Armstrong (historien de l’art, professeur à l’Ohio State University) et Jason Smith (qui enseigne la philosophie au Art Center College of Design à Los Angeles) ont voulu poser à Jean-Luc Nancy. Il leur répond que la politique doit ouvrir et garder l’accès à toutes les possibilités de sens, mais que ce n’est pas à elle d’assumer ni d’assurer le sens. Cet entretien, conduit à l’été 2010, prolonge et amplifie les réflexions ouvertes dans quelques textes de Jean-Luc Nancy sur la démocratie et sur le communisme
Political philosophy. Social philosophy --- Political science --- Philosophy --- Nancy, Jean-Luc --- Political and social views --- Political philosophy --- Political and social views. --- Political science - Philosophy --- Nancy, Jean-Luc - Interviews --- Nancy, Jean-Luc - Political and social views --- Philosophie politique. --- Nancy, Jean-Luc,
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