Judith Perraino investigates how music has been used throughout history to call into question norms of gender and sexuality. Beginning with an examination of the mythology surrounding the Sirens, she goes on to consider musical creatures, gods, humans and music-addled listeners.
Whether referred to as mermaid, usalka, mami wata, or by some other name, and whether considered an imaginary being or merely a person with extraordinary abilities, the siren is the remarkable creature that has inspired music and its representations from ancient Greece to present-day Africa and Latin America. This book, co-edited by a historical musicologist and an ethnomusicologist, brings together leading scholars and some talented newcomers in classics, music, media studies, literature, and cultural studies to consider the siren and her multifaceted relationships to music across human time and geography.
Sirens are sounds that confront us in daily life, from the sounds of police cars and fire engines to, less often, tornado warnings. Ideologies of sirens embody the protective, the seductive and the dangerous elements of siren sounds – from the US Cold War public training exercises in the 1950s and 1960s to the seductive power of the sirens entrenched in popular culture: from Wagner to Dizzee Rascal, from Kafka to Kurt Vonnegut, from Hans Christian Andersen to Walt Disney. This book argues, using a wide array of theorists from Adorno to Bloch and Kittler, that we should understand 'siren sounds' in terms of their myth and materiality, and that sirens represent a sonic confluence of power, gender and destructiveness embedded in core Western ideologies to the present day. Bull poses the question of whether we can rely on sirens, both in their mythic meanings and in their material meanings in contemporary culture.
Four artists are drawn into a web of rivalry and desire at an elite art school and on the streets of New York in this “gripping, provocative, and supremely entertaining” (BuzzFeed) debut “Captures the ache-inducing quality of art and desire . . . a deeply relatable and profoundly enjoyable read, one drenched in prismatic color and light.”—Kristen Arnett, New York Times bestselling author of With Teeth FINALIST FOR THE MINNESOTA BOOK AWARD • ONE OF THE BEST BOOKS OF THE YEAR: Glamour, PopSugar, Debutiful It’s 2011: America is in a deep recession and Occupy Wall Street is escalating. But at the elite Wrynn College of Art, students paint and sculpt in a rarefied bubble. Louisa Arceneaux is a thoughtful, observant nineteen-year-old when she transfers to Wrynn as a scholarship student, but she soon finds herself adrift in an environment that prizes novelty over beauty. Complicating matters is Louisa’s unexpected attraction to her charismatic roommate, Karina Piontek, the preternaturally gifted but mercurial daughter of wealthy art collectors. Gradually, Louisa and Karina are drawn into an intense sensual and artistic relationship, one that forces them to confront their deepest desires and fears. But Karina also can’t shake her fascination with Preston Utley, a senior and anti-capitalist Internet provocateur, who is publicly feuding with visiting professor and political painter Robert Berger—a once-controversial figurehead seeking to regain relevance. When Preston concocts an explosive hoax, the fates of all four artists are upended as each is unexpectedly thrust into the cutthroat New York art world. Now all must struggle to find new identities in art, in society, and among each other. In the process, they must find either their most authentic terms of life—of success, failure, and joy—or risk losing themselves altogether. With a canny, critical eye, Sirens & Muses overturns notions of class, money, art, youth, and a generation’s fight to own their future.
This is the first study to examine desire in the Iliad in a comprehensive way, and to explain its relationship to the epic's narrative structure and audience reception. Rachel H. Lesser offers a new reading of the poem that shows how the characters' desires, especially those of the mortal hero Achilleus and the divine king Zeus, motivate plot and keep the audience engaged with the epic until and even beyond its end. The author argues that the characters' desires are primarily organized in narrative triangles that feature two parties in conflict over a third. A variety of desires animate these triangles, including sexual passion, longing for a lost loved one, yearning for lamentation, and aggressive desires for vengeance and status, and they are signified with terms such as eros, himeros, pothe, menos, thumos, boule, and eeldor, as well as through the epic's thematic emotions of grief and anger. Desire in the Iliad shows how the mortals' and gods' triangular desires together drive and shape two Iliadic plots, the main plot of Achilleus' withdrawal from the fighting and then return to battle, and the "superplot" of the larger Trojan War story. The author also argues that these plots and their motivating desires arouse the listener's-or reader's-own corresponding desires: narrative desire to know and understand the Iliad's full story, sympathetic desire for characters' welfare, and empathetic passions, longings, and wishes. Our desires invest us in the epic narrative and their resolution brings us satisfaction.
This book explores a central question of moral philosophy, addressing whether we are morally responsible for certain kinds of actions, intentional omissions, and the consequences deriving therefrom. Addressing a range of little-discussed topics and forging crucial connections between moral theory and moral responsibility, Moral Appraisability is vital reading for students and scholars of moral philosophy, metaphysics, and the philosophy of law.
This work offers a critical re-reading of fictions of humanity, history, technology and postmodern culture. Taking psychoanalysis into cyberspace, the book develops a theoretical perspective on the relationship between bodies and machines.
In Romans 7:14-25, Paul declares, "For I do not do the good I want, but the evil I do not want, is what I do" (KJV). St. Paul's statement is a universal truth for all human beings; humans--whether Christians, Jews, Muslims, Buddhists, Hindus, or atheists--are prone to committing free actions that are not "good." Furthermore, and irrespective of how we might construe the notion of "good" (whether as acting in accordance with some religious or spiritual precept or simply doing what is in one's best interest), we often knowingly and freely choose actions that may, or in fact do, harm us. There is a name given to such actions. We call them "weak-willed." "Weakness of will," or akrasia, has perplexed philosophers, theologians, and laypersons alike for centuries. This book reveals why the idea has caused so much bafflement and consternation for so many. The main thrust of the work, however, is to illuminate and inspire: Lightbody seeks to demonstrate, concretely, how and why we are weak-willed. By extracting an "alchemical touchstone" from Plato's middle period philosophy, Lightbody, in addition, reveals how we may transmute harmful appetites into life-edifying passions.
- Provides the first book-length psychoanalytic reading of landmark obscenity trails - An interdisciplinary study which will appeal to researchers across the fields of psychoanalysis, literature, and law
This impressionistic autobiographical inquiry is an attempt to connect the personal with the socio-historical—addiction with Addiction; it is also an attempt to demonstrate that knowledge production can be generated through radically non-traditional means. Narrative serves as method and methodology in a mostly first person account of a fictional open AA meeting. A suspicious hermeneutics is applied to addiction, to AA, and to the phenomenon of total medicalization, which the author and narrative finally succumb to, in the interest of questioning common sense assumptions about these themes, and as jumping off points for literary and philosophical exploration. Highlighted is the semi-fictionalized storied nature of reflected upon lived experience—the personal telephone game of (Paul Ricoeur’s) narrative identity—and the role of institutions like AA in grafting onto lived experience new narrative forms that allow for new ways of structuring self and identity. All the made-up aspects of the narrative—the multi-tracked narrator’s voice, shifts in point-of-view, and the semi and sometimes totally imagined characters encountered at the meeting and elsewhere—are the fiction the author makes of his personal history as an addict and newcomer in AA, which complicates the relation between knower and known (author and reader) while enriching and enlivening the narrative, drawing the reader into a literary representation of imagined and lived experience