It is &a commendable job done by the editor Dr. Mohan Rao to have put together this very readable anthology of rare media writings about the real health issues that plague women s lives. To which he has also contributed a very lucid and well argued preface that adds to the value of the volume. Mrinal Pande, The Book Review. The contributing journalists are winners of the Panos Reproductive Health Media Fellowship.
Into the Vortex challenges and rethinks feminist film theory's brilliant but often pessimistic reflections on the workings of sound and voice in film. Including close readings of major film theorists such as Kaja Silverman and Mary Ann Doane, Britta H. Sjogren offers an alternative to image-centered scenarios that dominate feminist film theory's critique of the representation of sexual difference. Sjogren focuses on a rash of 1940s Hollywood films in which the female voice bears a marked formal presence to demonstrate the ways that the feminine is expressed and difference is sustained. She argues that these films capitalize on particular particular psychoanalytic, narratological and discursive contradictions to bring out and express difference, rather than to contain or close it down. Exploring the vigorous dynamic engendered by contradiction and paradox, Sjogren charts a way out of the pessimistic, monolithic view of patriarchy and cinema's representation of women's voices.
They is the smallest and thickest anthology which contains amazing writers across India. This anthology is a beautiful collection of 50+ writers who penned their thoughts and feelings beautifully in this anthology.
Canonical criticism is not a recognized branch of biblical studies--granting new focus to questions of the authority and truth of the scriptural writings. Developed within a critical sense of the dominant historical-critical tone of biblical studies, canonical criticism as it has been pursued by the American scholars Brevard S. Childs and James A. Sanders stands as witness to the theological necessity of a more literary approach to the Bible. This book both criticizes the canonical enterprise, and takes it much further into readings of the canon from the perspective not only of literature, but also art, and in particular the biblical art of Rembrandt. In addition, it remains acutely conscious of the contemporary environment of our reading within the political concerns of feminist criticism, popular absorption in film and the narratives of the screen, and finally the crisis, or crises, which characterize the so-called postmodern condition. What emerges is at once highly critical of traditional strategies of canonization, and at the same time constructive and concerned to recover the Bible for our own time in readings which move outside the limited academic concerns of the biblical critic or the institutions of the church and religious community.
Having once been a psychotherapist who's never hesitated to turn the therapeutical gun barrel toward himself, Mathias B. Freese ramps up his radical reflexivity in this latest work, from confessional first-person narration to third-person "stories" starring "characters" named Matt. (This genre could be called meta-Matt.) "I write to know perhaps something about who I am," Freese writes. "I write to arrive at some awareness, however dim, about self or other, for when I have that fleeting moment of awareness, I feel at one -- true." Truly, Again. Again and Again. is a song of himself. Rocker Billy Idol proves to be an unlikely but apt echoer here: "When there's nothing to lose and there's nothing to prove, well, I'm dancing with myself." As a one-man show, Freese puts the "dance" in "abundance," stressing an author's singularity, the innerness of writing, the sharing -- rather than the proselytizing -- purpose of artistic expression. In other words, as Freese says, "a book is one person's awareness as he or she sees it." More than a few times, Freese had implied that Again. Again and Again. would probably be his swan song, his "final stirrings," his ultimate testament. How laughable, considering both his prolificacy and "urge and urge and urge" (as Whitman would gush). Sure enough, the author is no longer so sure that he's expressed enough, and it seems that yet another stirring idea spurs him to create again. Again and…
Whether Thersites in Homer’s Iliad, Wilfred Owen in “Dulce et Decorum Est,” or Allen Ginsberg in “Wichita Vortex Sutra,” poets have long given solitary voice against the brutality of war. The hasty cancellation of the 2003 White House symposium “Poetry and the American Voice” in the face of protests by Sam Hamill and other invited guests against the coming “shock and awe” campaign in Iraq reminded us that poetry and poets still have the power to challenge the powerful. Behind the Lines investigates American war resistance poetry from the Second World War through the Iraq wars. Rather than simply chronicling the genre, Philip Metres argues that this poetry gets to the heart of who is authorized to speak about war and how it can be represented. As such, he explores a largely neglected area of scholarship: the poet’s relationship to dissenting political movements and the nation. In his elegant study, Metres examines the ways in which war resistance is registered not only in terms of its content but also at the level of the lyric. He proposes that protest poetry constitutes a subgenre that—by virtue of its preoccupation with politics, history, and trauma—probes the limits of American lyric poetry. Thus, war resistance poetry—and the role of what Shelley calls unacknowledged legislators—is a crucial, though largely unexamined, body of writing that stands at the center of dissident political movements.
Draws from more than two centuries of soldiers' personal encounters with combat--through excerpts from letters, diaries, memoirs, audio recordings, film, and blogs--to capture the essence of the American military experience firsthand.
