For Jewel Blaine, the spotlight and her fans are all the family she'll ever need. She is the star of the popular daytime soapie The Proud and the Passionate, after all. After a high-profile breakup, Jewel has come up with her own call sheet: no romantic entanglements with cast members, producers and especially directors. But when the stage lights dim, Jewel secretly yearns for a sexy leading man to costar in her real life. Rugged, handsome Taye Elliott is new on set at P&P— this time behind the camera. Trained as a stuntman, but always with an eye on directing, Taye knows this is his big break. And he needs P&P's leading lady to trust him. But Jewel thinks he's better off pretending to break legs than really calling the shots. Taye's never shied away from a challenge and he's certainly not going to now. He's perfecting the scene of a lifetime—to direct Jewel on-screen…and love her off of it.
God, Sexuality and the Self is a new venture in systematic theology. Sarah Coakley invites the reader to re-conceive the relation of sexual desire and the desire for God and - through the lens of prayer practice - to chart the intrinsic connection of this relation to a theology of the Trinity. The goal is to integrate the demanding ascetical undertaking of prayer with the recovery of lost and neglected materials from the tradition and thus to reanimate doctrinal reflection both imaginatively and spiritually. What emerges is a vision of human longing for the triune God which is both edgy and compelling: Coakley's théologie totale questions standard shibboleths on 'sexuality' and 'gender' and thereby suggests a way beyond current destructive impasses in the churches. The book is clearly and accessibly written and will be of great interest to all scholars and students of theology.
Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms “sonic Afro-modernity.” He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity—among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity. Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong’s voice to DJ mixing techniques to Darnell Martin’s 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions—records and tapes, dubbing and mixing, and more.
Can your ultimate desire ever be fulfilled? Everywhere you look, every time you listen, with each click and tap, there's something you desire. How do you know if what you desire will satisfy, or if you are seeing a "desire mirage"? The global village presents countless ways to connect to all kinds of information. We think we can scarcely live without these connections. Do we realize, however, that these connections often block or slow down connections to God, self, and others? Divided Desire is a journey along the road of desire--a road everyone travels. Along the journey, Kenny Damara explores why we desire what we desire in the global village today. What role does God have in fulfilling the ultimate desire of the heart? And how should we respond?
Since the 1880s, electrical energies started circulating in European theaters, generated from fossil fuels in urban power plants. A mysterious force, which was still traded as romantic life force by some and for others had already come to stand in for progress, entered performance venues. Engineering knowledge, control techniques and supply chains changed fundamentally how theater was made and thought of. The mechanical image machine from Renaissance and Baroque times was transformed into a thermodynamic engine. Modern theater turned out to be electrified theater. – Retracing what happened backstage before the Avantgarde took to the front stage, this book proposes to write the genealogy of theaters modernity as a cultural history of theater technology.
The Masterful Way is intentional, deliberate and powerful. It is a life of joy and happiness which is what we all seek. This book is about Mastering this kind of life. You will find this book to be different. It is not another book on the Law of Attraction. Nor is it a treatise on the next generation of New Thought. This is a book about Mastery; the Tool-Set, the Skill-Set and the Mind-Set. It is an in-depth perspective on Universal truths and the Laws governing all energy. This is the journey of living your highest Self and taking full charge of your Co-Creative power. An unfolding of truths will help you understand the suite of Universal Laws that define all that Is. You will find perspectives on what is actually real and what is not. You will be given tools to help you work with the Universal Laws, and therefore how to get out of your own way. Most importantly you will define your desires and put yourself on the road of Mastery. You will get help on being clear about your intention, on removing obstacles, mostly of your own making, and on defining that which is your Being. Your journey of Mastery must be expressed in absolute truth and belief. It is what you have to say. This is why we are all here. Take this journey, and the Universe will be privileged to experience your voice.
Harold M. Best casts a holistic vision for worship that transcends narrow discussions of musical style or congregational preference, corrects errors in how Christians have viewed the arts and misunderstandings about the use of music, and offers instead a more biblically consistent approach to artistic action.
This book provides the first truly sustained commentary to appear in either French or English on Lacan's most important seminar, The Four Fundamental Concepts of Psychoanalysis. The 16 contributors unpack Lacan's notoriously difficult work in simple terms, and supply elegant illustrations from a variety of fields: psychoanalytic treatment, film, literature, art, and so on. Each of Lacan's fundamental concepts--the unconscious, transference, drive, and repetition--is discussed in detail, and related to other important notions such as object a cause of desire, the gaze, the Name-of-the-Father, the subject, and the Other. This volume also includes a translation of Lacan's companion piece to Seminar XI, "Position of the Unconscious" (an article from the French edition of the Ecrits that has never before appeared in English), by one of the foremost translators of Lacan's work, Bruce Fink. As an indication of the important of this article, Lacan considered it to be the sequel to his "Function and Field of Speech and Language in Psychoanalysis," arguably his most important paper in the 1950s. The contributors include many of the best minds in the Lacanian psychoanalytic world in Paris today. Chapters include "Excommunication: Context and Concepts" by Jacques-Alain Miller, "The Subject and the Other I and II" by Colette Soler, "Alienation and Separation I and II" by Eric Laurent, "Science and Psychoanalysis" by Bruce Fink, "The Name-of-the-Father" by Francois Regnault, "Transference as Deception" by Pierre-Gilles Gueguen, "The Drive I and II" by Marie-Hele`ne Brousse, "The Demontage of the Drive" by Maire Jaanus, "The Gaze as an Object" by Antonio Quinet, "The Phallic Gaze of Wonderland" by Richard Feldstein, "The 'Evil Eye' of Painting: Jacques Lacan and Witold Gombrowicz on the Gaze" by Hanjo Berressem, "Art and the Position of the Analyst" by Robert Samuels, "The Relation between Voice and the Gaze" by Ellie Ragland, "The Lamella of David Lynch" by Slavoj Zizek, "The Real Cause of Repetition" by Bruce Fink, "Introductory Talk at Sainte-Anne Hospital" by Jacques-Alain Miller, and "The End of Analysis I and II" by Anne Dunand.
